The problem with the "newer Velvias" is their atrocious palettes that have raised a few temperatures. In this category I put RVP 100 (especially) and its less gaudy 100F. A rainforest shot on 100 takes on the peculiar appearance of tinsel-draped Disneyland — with browns rendered red, greens rendered yellow and sandstone rockface rendered purplish, polarised or not. Compared to the quite striking rendition Velvia 50 returns, these two Velvias raise questions that Fuji is trying to emulate the ghastly platee of ProPhoto gamut.
For those producing for gallery work, RVP 50 remains the gold standard for positive-to-Ilfochrome at any speed and well worth duelling with carefully — just sharpen your knives!