Thanks for the cinepaint link - all of the above applies to us.
All that and more. Actually, for in house still shooting we run from D1X through Leaf to Sinar. But more critically, we work in and out of all manner of color spaces - for going to press, as well as because we often are handed work that originated elsewhere that we have to further manipulate to make into something else.
Probably 85% of what we touch at one time or another in its life will be touched in CMYK space. I can guarantee you that if a client hires us and a designer and a catalog is produced, then the idea is hit upon to "make it interactive" or who knows what, well, it'll be a Quark doc and it will be in CMYK. Depending on what happens to it afterward, we may just have to dip into the CMYK, or actually work in it (in that example). Usually the desire is to make as few color space changes as possible, so even if our product will be RGB, if the source is CMYK we may need to work in CMYK, those files would be print-ready for future use, then we'd drop into RGB at the end.
I think I was being naive...figured it'd have to have it. Heck, I even figured at least CMYK would be there, even if other spaces were not.
Uh, yeah, this and other comments about Adobe's wonderful customer service basically is what it boils down to.
I live in (work in) an extremely customer service oriented world. Without going into all of the loveliness of Adobe and copyright issues, let us just say I HATE giving my money to companies that treat me in such a way that if I treated my customers that way I'd be out of business.
They sure don't seem grateful to have my business....