Although they're not autochromes, there's a thread over on F295
about a "Trichromy" camera, a 3-chambered pinhole camera using colored filters over each aperture, with panchromatic black & white film. The developed negatives are scanned, then the appropriate colored mask applied over each monochrome image in Photoshop to reveal a life-like color image, the quality of whose color somewhat resembles autochromes. The biggest problem right now with his method is parallax errors, caused by three different apertures with three slightly different perspectives, causing chromatic abberation in the near or far field, depending on how the images are aligned.
I also recall a thread over on APUG about someone wanting to try and replicate the autochrome process, but I don't think much has come of it. In spite of our advanced technology some of these old processes are exceedingly difficult to replicate with the same standards as the originals.
I would guess that, for still-lifes where the subject matter doesn't move much, a three-shot assemblage of B/W negatives, each with the appropriate colored filter, using a single lens camera, could come close to replicating the autochrome look without the parallax issues of using three adjacent camera chambers.
You may recall that autochromes use minute specks of flour dust, dyed the three primary colors, such that they end up self-masking the B/W emulsion behind the color mask layer. Replicating this with three seperate B/W emulsions and colored filters should come close, especially with regard to being able to adjust the tone of each overlay mask in Photoshop.