It also depends on how precisely you need to match the color. If the faces, for example, are always being keyed by the Kino 32 tubes, then it doesn't matter so much if practicals in the background are slightly warmer (which they often are.) Or you could warm up the Kino 32 tube with some gel. And if everything is keyed by the Kino 32, then any slight green (usually from the fixture not getting enough air around the tubes) could be timed out.
It gets trickier if you try intercutting faces lit by the Kinos with faces lit by the practical sources, if that's the case, it would be better to use tungsten lamps, perhaps on a dimmer, to match the tungsten practicals.
My main point is just to find a consistent approach, i.e. faces always keyed by the Kino, or always keyed by tungsten -- makes life easier in the final color-correction. Backlights and fill matters less in terms of switching between Kinos and tungsten.