The below described digitization workflow describes camera assisted digitization using narrow-band light sources. Allowing for better color separation by  extracting information from highest dye concentrations in the film stock while avoiding side absorptions in-between. Motion pictures film scanners do it. Fotolab scanners do it. Now you can do the same. Selective channel extraction and subsequent merge ensures regular cameras with Bayer filter can be used.

The below outlined workflow is assisted by a software companion for Capture One Pro on MacOS named „Analogue Toolbox“. A supporting facebook group has been created. Please join if interested.

Using this toolbox together with the recommended LED light panel and controller allows for automated cycling between red, green and blue during capture. Dials allowing to calibrate the backlight against your film stock already in the physical domain. Further the toolbox also allows use of an USB foot switch in combination with Capture One's tethering capabilities.

After the acquiring phase the toolbox helps at various stages of the required post-processing incl. white balance and correcting for screen output as last step.

Through this semi-automated and assisted workflow end-to-end (capture-to-finish) processing times of under one minute per frame can already be achieved in practice.

Preparation (Once)

• Set camera aperture and speed manually to a fixed value used throughout the scanning process
• When tethering ensure that orientation is fixed in Next Capture Settings to prevent arbitrary rotation. Also check that other is set to default and no styles are applied. 
• Set camera profile to ProStandard profile if available. Set Curve to Linear Response.

Preparation (Once per Roll)

• LCC: Capture an image from the light source alone without any negative and without holder in between. Ensure exposure is on point (~ +/- 0). Create a LCC from it with Color Cast and Enable Uniform Light enabled. Do not enable Dust Removal. After creation of LCC set back the exposure compensation (if any).
• Ensure correct trichromatic proofing color profile is set.
• Light source calibration: Use parts of the clear film border to adjust light source individual R, G, B channel backlight brightness via the dials in the toolbox. Verify via R,G,B captures and readout (SRGB) that RGB values align towards ~200.
• If the negatives arch a bit towards the center try to focus a bit off-center to maximise depth of field. Inspect the sharpness via zoom in Capture One. Film grain should be clearly visible.
• Optionally keep your preview at ~400% to verify focus remains sharp throughout capturing.

Capture

• Trigger discreet R,G,B  triplet captures via footswitch until complete roll is captured.

Post-Processing

• Double-check that all images have the LCC applied to.
• Select (all) images and press Combine.
• Select resulting (-RGB.tif) images.
• Rotate (and flip) if needed desired. Copy/paste to other images.
• Crop without leaving any border. Copy/paste to other images.
• Invert alias Convert. Copy/paste to other images.
• White-balance using SRGB readout. Copy/paste to other images.
• Gamma adjustment to center the histogram if needed.
• Select (all) images and apply PFE 3D LUT.
• Select resulting (non -RGB.tif) images.
• Apply slight contrast s-curve if desired.
• Stretch Histogram via Levels or Auto-Levels (combined RGB Channel)
  
• Final adjustments to gamma via Levels midpoint if needed.
• Add sharpening (as start values try 100/1/0/0).
• Apply Noise Reduction if desired (as start values try 0/50/40/0).
• Reintroduce borders if desired by relaxing crop again.
• Fill IPTC fields incl. keywords.