I think those days the tide is changing from swiss officer knives style (AKA gazilions of AOV) and I am one of those, don't get me wrong, to the more neat "this is your beauty, and this is your masks) period.
Specially guys like WETA, the head of dev is a HARD Liner about that and he is right in many ways. in studios, for mostly multi shots productions, the NEMESIS is heterogeneous output from COMP dpt and / or CG as well, meaning that the director at the end of the day as a heart attack when switching from shot to shot, the color is not flowing correctly and that takes a lot of time to manage and / or control.
So at the end, their thinking is: Why the fuck using a PBR engine and all the pain it brings IF we kill the result a comp time ? that what it is about.
I agree 100% with that. But it requires an education cycle again in the film industry to not get out of that and do a strike with just one little email saying that you just realized the shot was supposed to be night time and not day light, for example.
It will take a bit of time to be able to lose those hard coded habit we have ion the industry, because they are well founded, at the end, but not really making sense. AKA 2nd amendment if you follow me.
And indeed is the question and need of keeping linearity (not Linear workflow... ahah) between all brick of the pipeline. typical pipeline involves a lookDev, (maya/max/houdini/C4D - Nuke/Fusion/Smoke - Katana/Clarisse - Avid/LightWorks/Premiere/and what not. All those guys are required those days to display at viewport level the exact same level in shading and textures display. Probably adding a bit of a challenge as well).
Cheers