Pere, if you fished around this forum a little more yourself, you'd discover that my opinions aren't unique, and might be even a little understated. People can adopt any role model they wish. But if you limit your selection just to Shetland Ponies endorsed by web jockeys, you're not going to win many real horse races.
Alan - Its perfectly feasible to make very high-quality internegatives on Portra 160 sheet film (via basic supplementary unsharp masking in cases of high contrast originals). Yes, this takes some practice and experience just like every other kind of darkroom work where quality results are the objective. But if one does take this route, they'll soon discover that the dye incompatibility as well as contrast issues of Velvia makes it particularly annoying to work with, that is, in comparison to tamer E6 films like Ektachrome, Astia, Provia, etc - just about anything other than Velvia. Then you'll probably also hear some nonsense about all that extra range in the shadows that can be recovered by scanning Velvia; but there's a catch to that - you're going to get a lot of oversized blue-biased grain down there, which isn't worth much in an actual print; it's generally better just to let it go solid black. But in this day and age if one wants something commercially printed from a chrome in other than inkjet, then some kind of laser exposure device like those mentioned already would be the realistic path. Labs these days aren't really set up to do internegatives anymore. And most of them never did it well to begin with. Like I stated earlier, pray for the return of Kodak E100G.
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