Dolby Vision Trim Passes & SDR Anchor - Workflow Wisdom Needed!

Hey everyone,

I'm Rohan, a DP mostly shooting on an ALEXA Mini LF these days, often with Orbiter and SkyPanel X lighting packages for commercials and narratives. We've been delving deeper into Dolby Vision for some recent projects, and I'm really trying to fine-tune our approach.

The official Dolby docs are super clear on trim passes, but I'm curious about real-world application, especially when it comes to the SDR 100-nit anchor. How do you personally balance making that anchor grade feel right, while still ensuring you're getting the full punch and dynamic range out of your primary HDR grade? Are you finding yourselves pushing the HDR first and then trimming back, or starting with a 'safe' SDR and extending out? We've tried a few methods on a recent project (shot on an ALEXA 35), but I'm eager to hear how others tackle this balancing act in practice.

Thanks in advance for any insights!