For some years I actually made most of my living selling Ilfochrome prints. Some transparencies will prove easy to print, and some will prove difficult. Maybe a 1/3 of my 30+ year body of work was relatively easy. Another 1/3 difficult, and the remainder were hopeless. I suggest you keep a very thorough log for every print; I did and soon found it an invaluable reference.

Kodachrome and early Fujichrome 100 were easiest. Flat-lit Velvia 50, not hard. Lumiere and the other Ektachromes of the mid 90's like 100SW had issues as does Fujichrome Provia.The gamut didn't work for me with certain films, you'd get some strange color crosses that I would pull my hair out trying to correct for. Before you get far along in it, you'll need/want to learn unsharp silver masking. I made my own punch register system for 35mm and found one of the last boxes of Kodak Pan Masking Film on the planet.

The CPM1M fiber based paper is a lot less expensive and has lower contrast than all but one of the polyester based emulsions. By the turn of the millenium, fresh materials started to get harder and harder to find. The little 2L P30 boxed chemistry kits were usually so old that the bleach would only last a couple of days once mixed, what paper I could find locally was all aged and magenta-shifted. You can probably find a large volume darkroom supply place to sell you jugs of P3 but here in CA it's hazmat and can't be shipped so it was 6 hours R/T and $50 of gas to go fetch it. Even if you can find the chemistry still it won't do much good if the paper has been sitting around too long.

By comparison, RA4 printing is a joy. Frankly, about 5 years ago Ilfochrome became not worth the effort to me anymore, not when there are far far more effective ways to print that offer more color and contrast control and are purportedly just as archival. No one buying prints ever asks if they're Ilfochromes/Cibachromes, incidentally.