Dolby Vision Workflow: SDR Anchor vs. HDR Primary, Operators' Adaptations?

Hey everyone,

I'm Omar, a Steadicam op, and I've been diving deep into Dolby Vision workflows for a commercial project I just shot on an ALEXA Mini and a RED Komodo. The 'official' guides are super clear on trim passes and starting with the HDR grade, but I'm curious about real-world application.

Specifically, how have you personally adapted this process? I'm finding myself sometimes pushing the primary HDR grade really hard, then struggling to pull the SDR 100-nit anchor back into a pleasing space without losing the HDR 'pop.' Other times, I feel like I'm grading a fantastic SDR first, and then the HDR feels a bit... tame.

Do you find yourselves subtly adjusting the primary HDR with the SDR anchor in mind from the start? Or do you truly grade HDR in isolation and then just tackle the SDR trim passes after?

Keen to hear your strategies.