So I really like the look of Sergei Prokudin-Gorskii's three-color photos from the 1900's and 1910's, with their brilliant, life-like color response and shimmering rainbow artifacts around moving objects. My understanding is his camera was probably a falling plate model that automatically exposed three dry plates with different color filters in decently quick succession. "An elegant solution, for a more civilized age... not as clumsy or as random as slide film..."

There were even three-color cameras that could compensate for the subtly different color sensitivities of early panchromatic emulsions by altering the shutter speed, though I don't know if Prokudin-Gorskii had one. Obviously, these cameras are pretty obscure now (though they were made into the 50's for some applications, apparently,) and my chance of ever getting one is less than zero.

However, I think for static shots like landscapes, all you'd really need to mess around with this would be a decent pan film (check), a very stable tripod (check) and three different color filters of appropriate, known hues and about equal density (not check), as well as the photoshop or GIMP knowledge to composite the scans together (tentative check?). Has anyone tried this? Results? Any images they'd like to share?

I will say I do have film holders with clearly distinguishable notches (courtesy of previous owners) so that it wouldn't be hard to tell the three different exposures apart. What do you call those notches anyways? Index notches?

I'd also note that, if you were very smart, had the proper equipment and you were willing to mess around with doing different exposures, you could expose two regular sheets and an infrared sheet and simulate or approximate the false-color response of the old Aerochrome infrared color slide film, where infrared was reproduced as red, red became green, green became blue, and blue was blocked out altogether. That would be totally tubular, in my opinion. IDK, I think infrared sheet film is probably too rich for my blood.