Decide whether it is easier to put the gels on the halogen lights or the fluorescent lights. If you have a large number of fluorescent light banks and a few movable halogen lights, gel the halogens. If you are shooting with cool white bulbs in the fluorescent lights, these are close to daylight color temperature, and should yield good results. If there is enough light from the cool white lights you could use them exclusively and turn off the halogens completely. If the halogen lights are harder to get to, or you have just a few fluorescent lights, gel the fluorescent lights.
Select your gels. Get "tough" gels, which will hold up to the heat of the lights better. To gel the halogen lights, use "plus green" gels, which will add green to the color of the lights to bring them in line with the fluorescent bulbs. If you will gel the fluorescent lights, use "minus green" gels. These remove green from the light color to make them more similar to the warmer halogen lights. For fluorescent tube lights, there are gels that slip over the tubes (rather then having to tape them over the light fixtures) and make the job easier.
Attach the gels to the lighting fixtures with clips, or remove the fluorescent tubes from the fixtures and slip the tube gels over them (some gels require this). Don't use tape, as the high heat from cinema or halogen lights can melt it, making a big mess and causing a potential hazard. Keep the gels away from the heat of the bulb, especially the halogen bulbs, which are very hot.
Prepare your camera for the right color balance. If you are shooting video, choose the light preset in the camera for tungsten (halogen lights) or fluorescent. If you are shooting with cool white fluorescent lights, they are close to daylight color temperature, so try the daylight setting. Do a custom white balance if your camera allows. For film, you are limited by the film stock you purchase, so get a film type that matches the lighting situation you use. The film camera itself has no adjustment for color temperature.