Dolby Vision Trim Pass: SDR Anchor vs. HDR Primary?

Hey everyone, I'm Terrence Cole, DIT on a corporate piece shot on an ALEXA Mini, and we're looking at a Dolby Vision deliverable for the first time. I get the theory behind trimming and how the metadata drives it, but I'm trying to get a feel for real-world application. Most guides talk about doing passes for different targets. My key question involves the SDR 100-nit anchor grade. In your experience, do you find yourselves heavily adjusting the primary HDR grade to ensure that SDR trim pass holds up well, or is it more about making the best HDR grade possible and then using the trim controls to bring the SDR into line after that? We had a few shots on a recent commercial where the Orbiter was pushed pretty hard, and I’m wondering how much of that HDR pop we should 'sacrifice' upfront just to make the SDR job easier downstream. Any insights on your workflow balancing these two would be super helpful.