It depends on what you mean by
"a thing"
but if you were able to spy on the working templates of a great number of working composers (who happen to do lots of orchestral music) I suspect you would find out 7 things.
1. They have lots of their own private samples & rely on them pretty often
2. They will HAPPILY use a library from 2005 if it has a unique sound that just gets the job done
3. Many composers do not go for the "big room big ensemble" sound and may have hardly any Spitfire in their template at all. If they do go for that sound then they'll have an eye popping amount of Spitfire bought back when it was 3x more expensive than it is now...
4. There are FEW working composers who rely on hyper-dry instruments, fewer still when you take out Sample Modeling Brass.
5. Doesn't matter if the composer has eight string libraries placed in their template, there's always one they will gravitate to and try to do 80%+ of a project with just that library
6. Composers buy libraries rarely - they are TOO BUSY. A "template update" means asking "what came out in the last 5 years that sounds good"
7. They don't worry too much about the cost of sample libraries because the amount they pay for computers (and rent) is insanely higher
This is just based on my assistant experience btw, but you can learn the same thing by observing what composers like Junkie XL, John Powell, Jason Graves, Christian Henson and several others have posted.