This APS unit, using films IX 240 (producing  negative 16.7 x 30.2 mm with a magnetic track), is both very singular and historical as a transition camera.
It offers a small 24 x 36 mm colour LCD (we never change), to monitor the result of the picture taken. This screen is not used as a viewfinder, but only as a "controller of the finished work"; and that for a single photo, the one just taken!
And despite the strangeness of this digital camera screen on a film camera, we must recognize that the engineers had yet "made strong" incorporating, besides the usual APS features, many more useful ones such as the choice of the output format (conventional, 16 x 9 or panoramic) after a photo is taken ... even if it is only a matter of masking during the print operation!
The Advantix Preview even  allow to intervene in the picture just taken by deciding the number of copies you want to obtain from the processing. Subtlety of the latter option: it is possible to indicate that we wish no print of the photo (choosing zero as the number of prints); it does not erase the negative, of course, but force the printing robot to override. It is also possible to specify that you want a lighter or darker printing, it will be recorded on the film and provide useful information to the printing robot! Other function: a title (from a limited number of proposals) can also be added to the last picture exposed; it will be printed on the back of the picture, with the date and time of shooting.
It is not surprising that there was little talk about this camera: the format is an amateur format; APS did quickly show its limits and especially never killed the 135. Yet this device is strange enough to worth some thoughts about it: while digital cameras are already on the market in 2000 (beginning around 1996 ) we may be surprised by this late choice from Kodak. The idea of this transition camera is however not stupid, but its contribution in terms of innovation is limited!
It was probably a bad business deal, except to keep for a year or two some tens of thousands of customers temporarily using the APS. We are not surprised that with such choices, Kodak was pulled gradually towards the exit door.
At most, we may see an effect of industrial training for certain functions that became common in digital cameras. But these latter already existing, it remains doubtful. And who has benefited the most? Probably the Chinese industry that manufactured these cameras.

For the record: the owner (WS), a great collector passionate about technology, even paid this device full price in 2002 (about  300 Swiss francs) to be sure to obtain it before stocks will go to scrapyard. In conclusion: It is only because of the historical transition that this camera is interesting.