I have been scanning film since 1994 using everything from flatbed scanners with transparency scanning capability to dedicated film scanners, to camera copy set ups. And using film sizes from Minox submini (8x11mm) to 6x9cm. All can work well, and each type of scanning methodology has its advantages and disadvantages.
I still have an Epson 2450 flatbed scanner and a Nikon CoolScan V. Both work well, but both are quite slow to scan at high resolution. I drive them with VueScan software ... much more capable (and compatible with current computer systems) than any of the supplied apps from Epson and Nikon albeit a bit more complex to learn and get the most out of.
Most of my scanning nowadays is 35mm full-frame and 120 format in 6x4.5 and 6x6 formats. I use a Novoflex copy stand to hold the camera apparatus and an Essential Film Holder to properly hold and guide the film over a small LED light box. The camera I use varies between a Leica M10-R, a Leica M10 Monochrom, and a Hasselblad 907x/CFVII 50c. With the Leicas, I use either of a Macro-Elmarit-R 60mm f/2.8 (with and without Macro-Adapter tube and/or 2x teleconverter) and a Leitz Focusing Bellows-R with either Macro-Elmar 100/4, Macro-Elmarit-R 60/2.8, or Summicron-R 50mm f/2 lenses depending upon what exactly I am trying to capture. With the Hasselblad, I use a set of extension tubes and a Makro-Planar 120mm f/4 ... again, depending upon what exactly I am trying to capture.
The M10-M has the best dynamic range and detailing for capturing B&W negatives. The Hasselblad and the M10-R compete on dynamic range and detailing ... the Hassy sensor has more dynamic range, the M10-R sensor nets slightly more detailing. All three out-perform both of my film scanners and are far faster to work with. The real difference in working productivity is how much time and care you put into doing the configuration setup with the camera copy techniques, and how many negatives you are copying in a session: the film scanners are faster to setup and the software you drive them with nets positives more quickly in low volume sessions, while the camera copy setups take time to set up correctly but can then capture far more negatives per hour of working time ... with the proviso that you then need to invert and tonal/color balance everything which takes additional time.
It can all work brilliantly, or it can all produce mediocre results, depending on how much effort you put in to learn how to get what you want and how consistently/rigorously you practice with and proof the setup. Scanning film is not a trivial exercise if you're looking for best quality.
Good luck with your efforts!
G
If you want to see examples of my work, I have a body of photos spanning almost 20 years and over 7000 items on my flickr site:
Godfrey DiGiorgi’s albums | Flickr
There are a couple of albums which focus on scanning, but I usually don't segregate out scanned photos from digital capture photos, but I do try to list "tech info" with most photos so you can see what made them.