If you want perfect LCC, it's not that simple!
I shoot a lot in high altitudes (swiss mountains) with high contrast situations: Dark blue sky (with a LOT of UV) and bright snow scenes, or overcast scenes with a lot of mist, where lens cast can easily been seen.
Using an ALPA SWA (with shift), the Rodenstock HR series lenses (35mm, 60mm, 100mm) and a Phase One P45+, I have found differences in LCC not only concerning every lens and shifting, but also distance setting, aperture (although minor) and (especially important to me) depending on the sun hitting (or not) the lens (and the opal white plate accordingly).
In addition, after shooting series of LCC files to find about about the impact of exposure, I now make shure the histogram of the LCC file is not in the left or right quarter (on the screen of the P45+). This means I opt for an average exposure of the LCC file, but always without changing the aperture.
For general use however I can take one of the LCC files of a library I have built for my lenses and the most common situations. It works but in critical situations lens cast can still be seen sometimes.
So therefore I generally shoot an LCC file with EVERY scene I take!
Of course that slows down the process of shooting and developping the files (in C1), but it's worth the effort. There's no way to achieve the same quality of correction with either CS3 or LR 2.
IF you are happy with the results you get, you might as well ignore all these details concerning LCC.
All my findings come from practical experience (outdoors in very changing situations) and so I think the manuals you generally find about LCC (by any brand) don't tell you the whole story.
Interestingly enough, shooting with the same back on my Phase One camera (Mamiya 645 AFD III; 2,8/45mm as the widest) there's hardly ever any LCC needed, as the lenses have a totally different construction and are placed further away from the back (due to the distance required by the whole mirror mechanism).