The yellow was definitely not lemon yellow but much more on the golden side, and the white at the top was more pinkish, but all those things can be affected by the emulsion lot, the processing, the time of day, whether or not you had any sort of filter on the lens, whether you shot with a Leica, Nikon or Canon lens and probably about thirty more factors I can't think of at the moment.
The reason I did the corrections on the MacBeth chart previously posted were just to illustrate that there are even more variables to consider when considering who is doing the scanning. The first frame was obviously way too cool, and while the second frame, with the profile applied was considerably better, it too was not only cool but non-linear in the gray balance from light to dark. The third was sort of a half hearted attempt to warm it up a bit, but had a lot of shortcomings as well. This still begs the question of how close to the original color checker was that piece of film? If it pretty much matched, then the K-14 profile wasn't all that good to begin with and with a couple of minutes with well places curves, you could actually better the profile manually. It was all to illustrate that there's more than one way to get this done effectively. If you've got a piece of film with a color checker on it and know how that color checker is supposed to look, do you correct the scan to do that or do you make your scan match the film as close as possible?
If in fact you are using the color checker for some sort of control, then you would probably want to correct it so it looks as close to the real life checker as possible, overriding whatever the profile is giving you straight out of the scanner. The profiled scan is really just a starting point and any good scanner operator will always set white and black points at a bare minimum, but also consider gray balance and selective color as well, where applicable. You just have to examine the pixel values in the scan and see what makes sense. I didn't know off the top of my head what the actual pixel values were for an idealized color checker, but I shot for something like the black patch at around 16-17 and the white patch at around 237-8 or so, while making the rest as neutral as possible. That made all the other colors come in a lot closer all on their own. It's all just the basic digital color correction theory 101 that I've been practicing for the last fifteen years.