It's easy enough to figure out that ASA125 on your meter is ASA100 on your camera, and the digital makes a great Polaroid. In fact, digital hits its peak in the studio under controlled lighting and contrast, just as film does.
I routinely make flawless 20-30" prints from a Canon 5D. I couldn't make a living shooting studio portraits on film.
The point of ASA is that it's a STANDARD. If on my Canon 5D it is actually ASA 125, but on my friend's Nikon D3x it's ASA 80, it's not a standard anymore. It's not that you can't figure out what it is and compensate, but you shouldn't have to. I like to set my power settings so that I'm using the same f-stop with my test exposure as I am my final exposure, so that I know what I see in my proof is the same as what I will see in my final print. If you're shooting a 35mm or APS-C sensor, AND your digital camera's ASA 100 is not the same as your film's ASA 100, then what you see on the LCD on the back of the digital camera will NOT be indicative of what you will get on a 6x7cm negative in your RB-67. You have to make enough changes between the two systems that it defeats the purpose.