The other thing they have going for them is that almost every film now comes under the hand of a colorist who adjusts the elements of every scene to favor a particular color palette - ideally one that was chosen in advance of photography and that is supported by lighting, costume, and production design. A tightly constrained color palette provides thematic unity and makes a big contribution to a film's 'atmosphere,' and generally takes precedence over photographic realism. The extreme example of this is making a film in black-and-white for aesthetic reasons; although that's a bit extreme for most mainstream audiences, many popular films are almost monochromatic with a strong tint. This creates visual tension and where the plot revolves pretty clearly around heroes and villains, strong visual contrasts underline the moral contrasts of the narrative. Comedies generally have broader colors palettes and colors are more saturated, reflecting the dramatically unpredictable and chaotic interactions of the characters.
Anyway, since shooting features on digital media became practical, and high quality digital scans of film stocks became affordable, filmmakers have exerted more and more control over the color of a film Because They Can, and the increasingly minor deficienices of LEDs are that much more likely to be smoothed away in post anyway because the white balance of a scene can be so easily manipulated in the digital realm.
Thanks for the explanation. I've been learning a little about light sources; based on my limited knowledge, I wouldn't expect that the full spectrum (or spectral power distribution (SPD)) of daylight could be replicated by hacking together LEDs and phosphors, though perhaps the untrained eye would not be cognizant of the difference. Can they really pull off 'daylight'?