It took some doing but I finally found a way that I can post and set up multiple figures without lag. In my pipeline, I load up the figure and then replace all the surfaces with a "rubber" material. Leave them naked, and then do all the posing. With the active pose tool things move about pretty easily and there is no lag or jerk.
Once I have everything posed the way I want it, then I go back and add the lighting. Since there is only a single material and no background, the test renders happen out pretty quick and I can get the general lighting set in quick order.
Next, I group all the figures together and add the scenery. I move the group to where I want them in the scene, then do the lighting test again to see if I need to add more to light the background.
Once that's done, I throw on the actual skin materials on the people, add the hair, clothes, etc, and then do a final lighting check to see if I need to tweak the intensity up or down.
I know it sounds like a lot of steps, but since you're doing the bulk of the moving and test rendering in an environment with fewer surfaces, it makes all the "guess work" portion go a lot faster.
Of course I'm always open to new work flows. This is just the one I've found be the fastest for me.
Sounds like an interesting workflow and good choices for your needs.
Adding back the detailed shaders/textures later in the process is more typical of professional 3D scene creation workflows I've seen, so you're in good company.
For me, I group objects based on logical sets that will likely be worked in relation to each other, which implies that I disable visibility for any groups which are not being worked at the time (unless a visual context is needed for the active group). For canned scenes, even those will get broken into subgroups, because hiding non-essential objects until later render tests can help keep the Daz workspace more responsive. Slowdowns after hundreds of objects are added can be such a hassle.
For each group, I quickly go through the list of isolated lights (or sometimes light groups) to see and adjust their general effect on that set of objects. Typically this lends to only minor adjustments among the lights when the full set is enabled with the larger scene. While I realize this doesn't show the results of indirect lighting in most cases, the light isolation tests are for ensuring lights are meeting the basic needs of their intended purposes: reaching destinations, softness or hardness of shadows, etc.
After all the groups and individual lights look OK, sets of groups are enabled (i.e., minor ones such as snow in the air or such are disabled until final render) including all the lights/light groups. This usually reveals the need for some final lighting adjustments and maybe some color bounce lights for enhancing material shadows (see this marvelous book, I have the hard copy:
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).
Since I usually render Daz scenes with Octane, I tend to keep basic materials in place from the start. Why?
Well, just for giggles I created a test scene by following your basic workflow above, using characters from Genesis through G8. For Iray using default settings (i.e., 95% covergence, 1.00 quality, etc.) the scene with all character materials enabled required 2:45 to reach final state, but when all character materials were switched to a single grey material it dropped to 00:22 ! That's a huge difference.
With Octane, regardless of the render mode I used, the timing was nearly the same for characters with full-on SSS materials as for mapping them all to the same, matte grey shader. The basic scene on fastest render mode took about 9-11 seconds for the grey materials and just under 25 seconds with custom character materials, while the more advanced render mode took almost the exact same amount of time in both cases. So, mapping to grey wouldn't save me loads of time for my workflows, typically. That can only go so far, because once lots of reflective/refractive object materials are enabled in a scene, that could start to add up (but even so, Octane is just beast at showing you enough quickly - like a car with huge low-end torque).
Oh, and my viewport is usually in hidden line, wireframe or smooth shaded mode, so that also cuts down use of materials while manipulating the scene in Daz.