For film we used Fuji Astia 100F and Ilford 100. A problem I found with using Ilford is that the spool seems to be a slightly different width than normal and can mess up the spacing on my next roll of film. We used a red filter for the last shot where I am peeking around the corner. We also used the camera with a yellow filter and also tried it without any filters. The idea behind using a yellow filter was so that the sand would become like a white background and we might end up with a shot looking like line-art. We came close but discarded the shot because the skin tones blended into the background too much (shown below).
It is certainly much easier to do black and white with digital. Once I figure out what exposure value I need with the Hasselblad (looking at shadows and using the sunny f16 rule), I then have to compensate for the filter. And what I've more recently realised, as with the shot taken using the yellow filter, is that I then need to think about how the colours can then become brightened or darkened and how I need to change the exposure to bring out the details that I want. Anothr problem is I also don't have the option of developing black and white film myself for lack of room and this is a big part of getting decent results.
For colour, we used Fuji Velvia 50 for sunset at EV 10 and 11 if I remember correctly. The last ones shots were handheld because unfortunately the thread wore away on the underside of the Hasselblad. This was because the tripod screw could only partially inserted into the socket.
It's interesting to compare the 35mm film to the shots taken using the digital SLR. It's like the difference between slide film and print film in that one has more colour saturation but the other is more balanced and can bring out details that would otherwise be lost (e.g. the clouds). We went off and bought a Sony a700 the next year which gives much better results. We have since found that editing the raw file directly in photoshop gives much better results than converting it to Tiff using Sony's own programs and then editing these. We were able to bring out details that were otherwise lost when first converting to Tiff format. Editing the raw file doesn't change it, the settings are saved in a separate file. Unfortunately we could not do this with the raw files from the Sony a200 and so the shots here were first converted to Tiffs.