The generalities are simple, but the exact details all depend on the specific printing process you have in mind, and require a great deal of time and effort to fine tune. And no, not just any panchromatic film works well. I strongly recommend TMX100, by far the most appropriate separation film available today (it was originally engineered for that specific application, among others), unless you have in mind UV printing, where TMY400 or Ilford FP4 would be preferable due to the slight amount of UV blockage of TMax 100 base. You want a traditional long scale developer like HC-110 (or DK-50 on a budget), not a staining pyro in this case. Note that the linked Unblinkingeye resource is NOT about color separation work at all. D76 etc would be a poor choice as well. Making good color separations is fussy work; but all the extra effort you put into it will save you even worse headaches later, when you try to print the result. I simply don't have the extra time anymore, perhaps the biggest necessary ingredient of all.
Old literature might help with respect to general concept, but not with the details, since film selection itself has completely changed. And as far as punch and register alignment gear goes, it depends on how big you want to contact print the separations. I use the same registered micro-pin contact frames and punches as for masking work, suitable for up to 8x10 film. Bigger than that, then you want to use graphics style larger punches and pin systems readily available under Olec-Stoesser or Ternes Burton brands (if seeking used, search the industrial section of EBay, not the photo one). Everything can indeed be done in a properly equipped darkroom, just like the old days; but it takes more patience to assemble the necessary tools and supplies.
AgX, Lachlan, and Koraks have just given some additional good advice. There are dedicated websites to things like color carbon and dye transfer printing. Think in terms of decades of practice, not months. I'd strongly recommend investing in a transmission densitometer if you don't already have one. Large sizes of the appropriate sheet film are getting quite expensive. So expect a Spanish Inquisition experience to your wallet too. Still, if you like a challenge, you will have a fair amount of company.
The two most common separation filters sets are 25 red / 58 green / 47 blue, or the denser and more precise 29 red / 61 green / 47B blue.
But what can really come around like a boomerang and hit you from behind is the fact that most films don't respond with equal gamma to blue, and in fact shift with respect to all of the filters due to unequal long exposure recip failure. One more reason for TMax 100, where it's possible to fine a sweet spot of exposure allowing all three sheets to be developed together for the same amount of time.
But most color processes requires various contrast, highlight, and color correction masks first, when working with color chromes - a complex subject in itself, also dependent on the exact output medium and its specific dyes or pigments. The statistical odds of coming up with something better than a modern inkjet print are low, but when it happens, a handmade print can really stand out from the crowd. Only a few outfits still have the ability, up-front investment, and stockpile of supplies to still do this on a commercial scale, and do it predictably. Just getting fun results is a different story - lots of people are in that category.
