There's definitely more to consider than just film vs digital. The Pilot, the series and the film all have a very different feel, and I'm curious whether we'll be getting the warm filters of the show or the far starker look of FWWM. Also interesting is the fact that Lynch is working with Peter Deming, whose cinematography for Lost Highway and Mulholland Drive is rightfully praised. I confess to feeling a little bit alienated by the sometimes rough and ready style of Inland Empire, so was relieved to discover the director would not be acting as his own cinematographer this time. That said, Deming's only previous venture with digital was on Oz the Great and Powerful, which was far from his best work. Obviously that film was extremely reliant on green-screen however, so his work on Peaks will hopefully be very different.
Ultimately, this is all fairly fruitless speculation, and until we see some footage we'll have no idea what we're in store for. But I do hope that Lynch manages to create something with the aesthetic richness of his best work. When discussing the film/digital debate last year, he discussed the benefits of digital mainly in terms of it ease and practicality, while also referring to a kind of inherent soullessness that is hard to get around (https://www.youtube.com/watch?v=bL8pN9Cgu2k#t=43m30s). Very excited to see the ways in which Lynch will attempt to get around this issue and - to use his words - "pump the soul into it" come 2017.
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