The usefulness of color safelights divides opinions; some people say they are next to nothing, some people find they help a lot. This could be due to our differences in the sensitivity of our vision and personal differences in how long it takes for eyes to adjust in darkness. The illumination level when you switch the lights on to evaluate finished prints will also affect how quickly you can get back to safelights. The point I want to make that they ARE very dim. They will fog paper if you have a level comparable to usual BW printing environments. Still, I find even this very weak light a great help compared to nothing.
If you work with trays, you should especially have an extra color safelight you turn on at the end of the development time. At this point, you can actually have quite a lot of safelight (because the paper has lost some sensitivity when in developer, and the development time after the minimal exposure from the safelight will be only 5-20 seconds until it hits the stop), so you can very easily move the paper to the stop bath. This is how I work and it's very easy once you get used to it.
Usage of yellow LED light -- try to pick a LED that is not orangish and not greenish, but as "pure yellow" as possible -- is a poor man's equivalent to #13 safelight filter. Works for me very well at the end of the development. Look at this;
http://www.rhdesigns.co.uk/darkroom/html/safetorch.html (I haven't tested this product but at least the price is not too high and I'd bet it works very well!)
It should go even without saying how much fun color printing is. It's just as fun as BW printing! However, if you are going to do Ilfochrome, you'd better have money. It's expensive, but the results may be worth it. RA-4 printing, however, is so cheap that you can print every snapshot without feeling bad
.