Hi, Les. Yep. 35mm CN film is especially a problem because of sampling size issues, and a higher quality scan in those cases is quite important. Once in awhile I'll order up a decent scan relative to a new CN film I'm not otherwise familiar with, just to save me headaches "reading" negs further down the line. But I don't print anything digitally, and rarely print 35mm anymore, so much of this little detour into scanning pros and cons doesn't affect me personally. I'm loathe to have anyone else print my negatives. My philosophy continues to be, if you want something done right, do it yourself. Unfortunately, as much as I'd like to do some color printing right now, I'm not going to risk any level of respiratory irritation from color processing chemistry until this pandemic calms down.
Most people don't really understand color neg film very well to begin with, and don't help themselves much by blaming the film instead of doing some homework up front. The other routine mistake is that they think they can correct anything in PS afterwards, and then when the can't, call the film manufacturer stupid for designing that film to begin with. And I suppose, this being a 35mm equipment thread, they might also blame the camera itself for lacking the right kind of auto-this, auto-that nonsense to do the thinking for them. Tools are only as good as the person handling them.
Nowadays I mostly use a Nikon as a black and white scouting too, and then save especially nice negs for small prints. But otherwise, my Nikons, both film and digital, are dedicated to the copystand in the lab. With a 55 macro attached, the combination is plenty good for web work. If I need something more serious, the same setup will accept larger cameras.