I think that scanning raw might be even easier, in a sense. The following is getting a little bit technical but I will try to keep the things simple and (maybe) short.
The problem arises with the immense dynamic range a normal color-reversal film can feature. A normal camera with, say, 12 bits per color channel simply can not resolve this dynamic. One would need at least 14 bit, preferably more.
One way out of this is to capture several differently exposed images and combining them into a final one. This is the basis of the Mertens exposure fusion algorithm. Or, if you dare so, to create a real HDR from the exposure stack.
Another, alternative way discussed in this thread is to capture just a single raw-dng file and process this appropriately. Advantage are: speed, as just a single capture per frame is taken, and therfore much faster processing.
The disadvantage is that you need to get the exposure right. If you do it right, a raw 12 bit per channel capture will be visually indistinguishable from a Mertens merge.
But how do you set exposure? Well, if you overexpose your frame, you will loose all highlight detail. But there is a simple and sure recipe to avoid that situation. Simply adjust your exposure in such a way that the empty film gate gives you the full image intensity without being clipped. Since anything in the film gate, including transparent highlight areas in your frame, will reduce the amount of light arriving at your camera sensor, that data will surely not be clipped. In fact, since the raw-dng is a linear record of the intensities your sensor is recording, the situation is actually slightly more favorable than with the non-linear JPG as output, as used in the Mertens approach.
The downside of the raw-dng approach is actually hidden in the shadows. They will not be covered as good as it is possible with a multi-exposure approach. Does it matter? Probably not, because of two things. First, shadow areas will show up in your final footage anyway as rather dark areas. A loss of precision will be barely noticable, especially with small format film and its excessive film grain in those dark areas. And, if you employ an additonal film grain reduction step, this step will also take care of the small errors caused by the low intensity resolution in dark areas of your single raw-dng.
I am still in the process of comparing these two approaches with each other, so I do not have yet a final answer on how much the use of a single raw-dng might affect image quality in dark areas. I think that multiple exposures might have an advantage when it comes to severly underexposed images - a thing which happens quite a lot with non-professional footage - and extreme color challenges, like old Ektachrome film stock faded into pink. But again, that needs to be tested.
In summary: if you set your exposure in such a way that the empty film gate gives you full white in the raw-dng without being overexposed, your safe for all of your scans, irrespective of the film material you are going to scan.