Large Format vs. Super 35: Composition and DoF Approaches

Hey DPs, I'm genuinely curious about how everyone's approach to composition and achieving shallow depth of field has shifted with large-format sensors. I'm currently prepping for a narrative short on my V-RAPTOR XL with some older rehoused anamorphic glass, a big step up from the Super 35 days on my AMIRA. I've been experimenting with wider primes and open apertures to really push that subject separation, but I'm finding myself almost over-isolating elements. With Super 35, there was a natural fall-off I understood. Now, the background just melts away so quickly. Are you finding you need to compose tighter, or rethink background interaction entirely? What creative solutions have you found when working with these shallower planes of focus?