T-stop is far more important for the movie industry, where you used to have tons of footage all shot at different times and different apertures and so on, where the exposures had to MATCH after standardized processing, so when you spliced a scene together the light didn't jump up and down. It used to matter a lot in the analog film days, since adjusting for missed exposures in post was either impossible or very difficult. I suppose you COULD have printed an intermediate film with differing exposures to compensate, but that sounds like a pain in the ass, and expensive. They wanted to get it right in camera, within a very very small margin.
Nowadays with most post being digital anyways it probably doesn't matter nearly as much. Even so we have systems like RED chattering on about T-stops, either because they're talking to movie guys who expect T-stops, or because they're trying to look extra cool, I can't decide which.