I have chosen to go the interneg route. I have enough different chemistry processes going, between b&w, c-41, ra-4 and E-6 botles filling shelves above the sink.
I do have an almost full 100 sheet 8x10 box of early 90's Kodak Radiance paper that was gifted to me in the last year. I intend to turn to it when I find more time to print precious slide images.
It was designed to use process R-3, which at first I knew nothing about. I figured it needed to work like e-6. I have mixed a first developer that PE graciously helped to work out, to allow me to reversal process this in a tray in the dark after exposure, rinse it, optically flash it, and then feed it as though a normal ra-4 print into my roller processor. The up side at the start with this off board tray work is that you can tell from the low contrast black and white revesed image on the print at optical reexposure if you got the exposure right, before sending a dud futher along for more steps.
Ron has advised me on how to reversal rocess regular ra-4 paper, but it has not worked out well for me in experiments to date. On the other hand, the first run of the Radiance paper with the box recommened filtration virtually matched the Macbeth test image I printed on it the first time I exposed it.
I have also been buying up interneg and dupe film 35mm bulk 100ft loads for $5 a can at old camera shows.
Most of it is quite slow, and hence has not shifted out of workable spec with the right filtration. I calibrate it's parameters in a Bowens Illumitran slide dupe or a Polaroid bench type 4x5 or 35mm copy camera. The e-6 dupe film I plan to use to improve the exposure and contrast of slides that will otherwise need contrast reduction masks.
Contrast reduction masks I have made in the past, and it is a toss up between pre/post flashing the dupe slide or making the contrast reduction or unsharp mask.
As to working with small quantities of expensive colour chemistry in print tubes, I have found in the past that if you need 40mL of fresh solution per print, then save up the solution for the first few prints. What you really need is likely 120mL of wet solution, with at least 40mL of fresh solution as a part of that mix.
I would store the intermediate solution in labelled plastic mugs that would hang with thier bottoms in the water tempering bath that the bottles also used, so that they would be at temp and ready to be replenished and poured back into the tube to help the new solution spread evenly over the whole print surface.