I always preferred chrome, not sure why, but I always have. Negatives wet-printed are one thing, but scanned and then printed digitally? Never gave me that "zing" that a well-done transparency did. Especially 4x5 or 8x10. Heck, even a MF one had a wealth of detail and depth that I never could replicate with digital(even MF backs).
Velvia 50 is a PITA to scan IMO, it's "crushed" blacks and magenta(ish) cast most of the time makes for slow(er) going when setting up a drum scan. Sometimes though, it just works. Other times, I want to chuck the roll once I've got it back from the lab
Ektachrome 64 is probably my favorite film emulsion, ever. I was getting into photography as Kodak was phasing out most of its E-6 "traditional" emulsions in favor of the E100(...) line(G, VS, GX). Ektachrome 100(EPN) and Ektachrome 64(EPR) were almost completely color-neutral, and that made it great for being able to judge filters and their strength, by eye.
Alas, E-6 from Kodak is now all gone
, so re-learning a new film(in my case, Provia 100F) can be a bit daunting. Its a nice film, but for the majority of what I shoot, Kodak delivered exactly what I wanted on the film, right out of the camera. Fuji takes a bit more work.