I haven't used a console since 2004, and I try to keep everything virtual until the end. I live and work in Denmark, Europe, so the productions are smaller than in the US. Normally I can have all my tracks virtual and online with plugins and stem busses on two HD3 rigs, which is what you normally find in mixing stages here in Denmark.
Normally we are two mixers working at the same time. If I am the supervising sound editor / sound designer / re-recording mixer (in Denmark the sound crew is smaller than in the US), I have the dialogue, music and sound design stems on my rig, and my fellow mixer has the rest (bg's, fx and foley) on his/her rig.
The duration of the mix is typically 2-3 weeks. I try to go through the film 3 times over this period. I don't do dialogue/foley predubs. In 3 weeks I would do a rough mix of everything the first week, a detailed mix the next week and a final mix the last week. There will be around 2 screenings during the mix, where the producer and the editor and a pair of fresh ears will be invited. The director will hang around most of the time, not so much in the first part of the mix, and more in the end.
I have tried to do dialogue predubs, but it sucks the energy out of me, and since I am in command I do it my way. I need the mixing process to stay fresh until the end.
I print the stems during Dolby transfer, and I make the M&E in an editing room afterwards, by opening up the dialogue and foley stems again. I never use outboard equipment for reverbs in the dialogue/foley stems, I only use the same plugins I have in my own editing room. This way I get an extra day or so of creativity in the mixing stage.
Re-conforming is pretty simple when you are staying virtual.