My setup (which I can't currently take a picture of):
1. A 14" long, 1/2" wide black pipe threaded into a floor flange, mounted on a board (or, more specifically, an Ikea wall shelf)
2. One of
these Raleno lights, the high CRI of which should theoretically be good for color negs
3. An Essential Film Holder - Way cheaper than the Negative Supply stuff. Is it as good? No idea! But it works well for me. (I also use a Pixl-latr for 4x5. I didn't enjoy it much with 35mm and 120.)
4. A Manfrotto super clamp to attach the mount to the pipe
5. One of these leveling mounts - I would say that this was the single best investment I made and the only 'advice' I could offer you - getting the camera level on the Y axis was always a huge pain in the butt, but now it's as simple as turning a ring.
6. A no-name ballhead - I only use this if I need to extend the camera out a bit so I can move the frame around without hitting the pipe base (i.e. for hi-res 4x5 scans).
7. My old NEX-7 with an AF Micro-Nikkor 55mm f/2.8 - I think that using an APS-C sensor has a few advantages,
but even at ISO 100 it does introduce a bit of noise to the party that can be unwelcome with super-low-grain films like CMS 20. Eventually I'll pick up one of the A7R models. Eventually.
Even though this is nowhere near an ideal setup, and I'm still improving technique etc., the results are better than anything I'd be getting with a scanner. Maybe a Coolscan 9000 comes close when everything's done properly, but there are plenty of tradeoffs with those as well, beyond the whole "paying several thousand dollars for a 20-year-old device" thing. It's not
extremely convenient to have to stitch frames to get good resolution out of 120 film, but it's worth it in the end (and an aforementioned A7Riv would fix that issue).