More than interesting. I've been doing this for years! I use the same methods I used in the early 1980s to copy slides for multi-image shows, although I'm using a digital camera to copy film.
I don't make multiple exposures and stitch them, however, because I generally don't need a huge print. Most of my images get printed to 8x10 or used in video productions.
Scanners are slow and cameras are fast and sharp. Even if you have only a 16MP sensor, and make one 1:1 exposure of a slide or negative in raw, results are fabulous.
If you can find an old slide copier with a standardized diffused light source, and a macro or enlarging lens, bellows, and camera adapter, go for it.
Whether scanning or copying, be sure you buy a StaticMaster brush and use it to clean your film before copying. It's also a good idea to have some PEC-12 film cleaner and an Ilford Antistaticum cloth around...
The biggest challenges are with color negatives. Every emulsion batch, brand, speed, and type of color negative film has different characteristics. In the lab business, we used to have separate "film terms" in our scanning software to handle each brand and speed of film. Then we had special "slope" curves to compensate for under- and over-exposure, up to two stops in each direction. Kodak supplied the film terms, but we had to make our own slope curves for each scanner. It was a tedious and time consuming process.
Slides and negatives scan quite well, however. As the articles linked suggest, use ONLY manual ISO, aperture, and shutter speed. Use a CUSTOM white balance. Expose to the right. ONE exposure setting will work for all but the most underexposed slides or overexposed negatives. Use raw capture. The white balance should transfer to your post-processing software, and the image should be very, very close to neutral. You can desaturate B&W negative copies for dead-neutral grayscale images. That's necessary, because most B&W films have a purplish hue to their bases.
It helps to have a test slide and a test negative that are exposed under controlled conditions and include a 21-step grayscale and ColorChecker chart. You can use them to set exposure through testing. If you also have a one-stop-over and one-stop-under set of test slides and negatives, you can get an idea of whether you need any exposure compensation, and what it will do to the raw image.