E100VS is just bloody awful. One framed Ilfochrome print on that stuff iin 2004 was enough to send me packing back to Velvia, which back then (2004) was in some sort of supply shortage.
RVP 50: enhanced primaries, with a 'heavy-hitting' green channel. Neutral whites. Highlights blow gracefully but shadows will block easily. Despite populist opinion, this film is not over-saturated. Spot meter it for the best results.
RVP 100: almost electric in its palette, but the stand-out feature is the very pure whites. Essentially the same as RVP 50 with a speed boost.
RVP 100F: a silly pot-pourri of yellow mustards, bland greens, muggy browns and insipid reds that clash and clang and jar, particularly on Ilfochrome. No great mystery why it's on the way out. Provia 100F is Velvia with a subdued palette and better shadow/highlight tolerance. Much better skin tones than both RVPs. All of my RVP imaging is spot metered, with full polarisation. It remains the gold standard among analogue professionals involved in printing for gallery exhibition. In MF and LF, it is an easier film to work with by dint of separate, disciminate metering. In 35mm, a lot of contrast and tone is packed into a small size which is not always well managed by on-board meters. It's best to experiment with this film so you can make an informed and careful judgement about the film's response to many situations from flat, foggy illumination to marginal emergent point light, because it will require fine tweaking of metering to balance everything, very especially so if the result is destined for printing. EI40 for 35mm is common, ISO 50 is a judgement call. In MF/LF/ULF, ISO 50 to EI64 are fine.