Preach. Yeah you don't wanna do that. The clock speed on your CMOS is not slaved to anything unless you're shooting on something with a timecode input and the clock speed on your LEDs is not slaved to anything unless they say Kino Flo on the side. It might work sometimes? But the times it doesn't work it's going to not work really hard. Audiophiles are dicks.
Switching to LED lighbulbs made it look better, but the flicker actually got worse, especially if I move my camera around.
hahah i think i showed this writeup to all my audio-enclined friends. It's hilarious! urgh, i guess it's back to regular incandescent lightbulbs for me then, i think i'll find less yellowy ones and more powerful this time. Really trying to figure out this whole lighting situation without shelling out on a proper studio set up. There must be something i can screw into my chandelier that doesn't flicker and look like shit on video :(
There's nothing wrong with incandescents. If they look yellow that means you need to color balance. Shoot a white card and set that as your white point and suddenly everything will look fine. If you're trying to do this with practical lighting, those heinous yellowy torchiere bulb work lights will do just fine. You just need to set the color balance to match.
for sure - maybe it's asking too much but i don't want to color correct everything, i'd like to live in a space that's just always video-ready in case i want to film a 3 minute thing. my camera does a good job at white balancing most of the time too - i think the problem with my previous incandescents was that they just weren't bright enough. footage looked like shit even after all my efforts to color correct (but i'm no pro either). And they did produce some weird bands if I was at 24fps.
C'mon now. Color-balancing should be the first thing you do when you whip out the camera. It should take you under 30 seconds. And you should be color-balancing your productions the minute you're done with the edit. You know better to assume that you're going to get consistent lighting out of anything but an isolated studio environment. I work on a soundstage where the lights have literally been hung for eleven years. We still calibrate everything every month and color-balance the cameras every time we turn them on. Don't be lazy.