In July, I asked a long-term friend for some instruction in using my brand new Nikon D7000 and speedlights. Long-term meaning 1974. He works at all the movie studios and on location. He can do that being a member of the restrictive Hollywood guild governing still photographers.
He provides the studios with all the behind-scenes and interview shots they release for publication. Control of these materials is tight, for obvious reasons.
My friend uses only Photo Mechanic. When he is forced to do some image modification, he uses Adobe CS, but he isn't paid for this effort so he leaves that chore to others.
I asked him about his software choices. He shoots the equivalent of a wedding every day. So, size and volume present a challenge. Thus, the biggest task is managing, archiving and renaming files. He gave me a demo of PM doing renaming of some 300 images and I was astounded at the speed. Most of his attention to PP, however, shows in the PP studio layout itself. Windows in a spare bedroom are all blacked out. The only ambient light is from clip on worklights with cardboard snoots and Gobos. He uses a MacPro tower. Backup drives are shuttled to another location in case of fire or other catastrophe.
The best part of the afternoon spent at his house was the speedlight demo he gave me in the covered patio. All his lightstands are on wheels, and he trusts his PW triggers. Of course when he is working, professional Directors of Photography have done all the lighting and staging for him. Rather than using gels for color balance, he uses the WB controls of the camera. He shoots all Canon gear, incidentally. What a job!