Today, you can easily still do it that way, of course.
But there's definitely an ability--only in the last few years, I think--where you can pre-master as you're mixing. When I'm putting a project together, I've got the master in mind as I'm setting things up very early. Then, like you, when I use Ozone I'm not terribly surprised by the results I get because I was expecting them. And with Ozone, it's easy to adjust it afterward for getting it right. Ironically, I spend *less* time than ever before by spending that time upfront getting it ready. Mastering was a chore, but now it's easy because I'm starting to pre-master while still mixing. I think you'd find our respective methods are far more similar than different.
Not to say this is right and all others are wrong: mastering developed as a formal process because of the nature of physical media distribution. Today, with everything moving toward streaming, you're not as locked into a traditional method--even though the traditional method works 100% of the time.
I'd say if you're only interested in streaming music, you've got a ton of ways to get there yourself, and new rules can apply. If you're interested in music that sounds great on CD, over the radio, in a car, in a TV show or movie, then a mastering engineer with a formal process is still the best way to go. But not the only way.