At the risk of coming late to this discussion (apologies - I don't visit here often) - this is my workflow, from choice.
I'm not at all sure that MF film colour work can improve on digital, although I really do like the look of Portra, which is well worth exploring if you like subtlety.
In monochrome, however, I think film still has the edge in MF, by quite a long way. However, you need to be able to use traditional monochrome film exposure and development controls to realise this - this is where the real technique applies. Treat the negative as the real thing, and the scanning and printing as just that - allowing a certain amount of control, but nothing fundamental. You need to control contrast, sharpness and grain through film selection and negative processing, because the scanner won't read what's not there (just like the old days!). If you send out your negatives for someone else to process by generic means, don't expect special results.
By way of (some kind of!) comparison I find I can achieve a consistent high-quality 50MP file from a 6x7 neg under almost all circumstances, and it has a film quality all it's own which is difficult to achieve digitally - the smoothness of tone is quite distinctive. This is basically a 2000dpi scan in a Nikon 9000ED. Achieving 100MP equivalent is possible (full 4000dpi), although every step in the chain has to be perfect, and I'm not as consistent as I'd like to be.
For examples of work which really show what is still possible, see Nick Brandt's photos of Africa - most of these were taken with old-tech Pentax and Mamiya 67s, and they are gorgeous images which he prints large for hanging, although the books are really good, too. Go and see if you ever get the chance.
Nick BrandtIt's more a matter of really knowing the equipment you have, rather than just buying the latest (most expensive?) gizmo. It may also help to have a subject to care about.
