Well, the days of a wide selection of chrome films to choose from is just plain gone; and it's likely to dwindle down more, especially in any size larger than 35mm. Fuji's ongoing commitment to sheet film is highly questionable, and 120 might go next. What I'm getting at is that it might be wise to learn how to optimize Kodak E100 for you own needs. It has very high predictable quality control, is PLENTY sharp and detail worthy, and decently saturated. It's easier to expose correctly than Velvia, more on a par with Provia in that respect.
Slightly different looks, color palette wise. E100 obviously has a bit cooler rendition than either Provia or Velvia (Kodak's "Daylight" standard is 5500K, whereas Fuji's seems to be around 5200). Slight color temp balancing tweaks using mild filters were once routine for serious chrome shooting; now it seems everyone has forgotten the implications of that.
E100 is actually better neutral balanced than extant Fuji chromes, so more of a mid-point to work with. Only the now discontinued Fuji Astia lineup had better neutral balance (plus their related CDU duplicating film line, which was basically tungsten-balanced Astia).
Subtle hue distinctions might be evident in a slide show. But in terms of printmaking, you're far more constrained by the limitations and idiosyncrasies of any given print medium itself than by the minor differences in these currently available chrome films themselves.