Fundamentally, the Zone System starts at the print parameters and works backward through the preceding processes that lead to the final print.
So, the first thing to do is to pick a standard printing material, printer, and process. This may be Lightjet/Lambda prints from a lab, inkjet prints from a lab, inkjet prints from your own printer, or even alternative process paper via inkjet contact negatives. You then work backward from the printer to the files that you use for print. How do you optimize those files for printing with the chosen printing equipment/materials? You make your profiles, or use existing profiles. You calibrate your monitor.
Then you think about how you get those files perfectly prepared for printing. What sort of contrast do you want in the file when you start Photoshopping it, in order to let you do the most in the program? You figure out how exactly your scanner interprets negatives. How do you get the scan that will give you the raw material to craft the file you need to make the print you want?
Then, how do you get the negative necessary to get that ideal scan? What sort of contrast do you need on the neg in order to get that scan? What sort of film, exposure, and processing do you need to get that contrast?
The technology used doesn't really change the basic theory. You work from the print backwards, calibrating every step to the last. And this is all easy in the grand scheme of things. The hard part is always deciding exactly what you want the print to look like when taking the picture. If you cannot do that, everything else is pretty pointless – just a bunch of time-consuming and fruitless technical exercises.
At any rate, anything except the film, exposure, and film processing discussions belong on DPUG. But if you get to the point when you have decided what sort of negatives you need, this is the place to find out how to get them.