We stopped shooting a year ago. It was not an ideological decision but a production one: we were spending more time organising shoots than making images.
What is gained is obvious. An impossible set costs the same as a plain one. An idea can be tested the day it appears, and dropped the next without anyone having lost a week.
What is lost is less obvious, but real. You lose the accident: the cloud that passes at the wrong moment and becomes the finest shot in the film. You also lose part of the work with actors, which remains the area where live action keeps a clear lead.
The consequence is that art direction has never mattered more. When everything becomes possible, nothing guides the choice but taste. That is where the difference between two studios using the same tools is decided.