Scanning the handles removes the overall orange mask from the color negative film.
A positive analysis, then the post-processing inversion does not remove it, the inversion simply turns this orange mask into a deep blue. NOT bluish, but very strongly deep blue. Then an extra job to try to remove it.
This is a difficult job to perform in digital post-processing (it is not the process but the result), because such extreme color changes (to suppress the powerful blue) are highly likely to cause cuts in the digital. Clipping can change colors and lose details.
While the scanner can do this in analog mode (no digital splitting), it is sufficient to vary the sweep time for each RGB color (the result acts as a light-correcting filter). The scanning of the color negatives is a little slower than the positive slides, but it's a very good thing.
By not saying that it's "impossible" in digital, you could get an acceptable result, but it's just not the same thing. If you have the scanner, I strongly suggest you use it. It is designed for the exact purpose.
This is about color negatives, they are the special problem. Positive slides or prints or black and white negatives do not have an orange mask. Copy methods other than scanning are not excluded (but the scanners are still good).
The result of a yellowish melting is not inherent at all. But it will be enormously easier to manage than deep blue otherwise. 🙂 However, there are various factors.
Since each brand of negative color film did not have the same orange mask color, some scanners offered a menu of choice of films.
Or the scanner calibration may not be accurate.
Or more generally, the film may have been shot with an incorrect color white balance (we had very little choice with the film, but there was a basic choice of film type or flash type, lighting or filters ). Often, shooting needed a better correction of the white balance itself. So try scanning other film negatives in different lighting situations to see how yellowish cast iron is constant. The sun outside is probably more accurate than inside.
In digital work, it would have been better if the white balance of the digital camera was correct, but usually it could be quite light and easily corrected during post processing.
The white balance was the same problem for the film as today's digital, but the lab printing the photo from the film did well to correct it at the time. But this is not yet corrected in the negative itself.
Remember the blue bulbs? Remember that we always have a good result whether we use them or not. The printing laboratory has corrected it for us. But in digitization, or film digitization, it is now our job to correct.