Dolby Vision 2, Light Sense, and Bi-Directional Tone Mapping: Impact on HDR Workflow?

Hey everyone,

I'm Liam, a focus puller, and I've been hearing a bit more about Dolby Vision 2's 'Light Sense' and this concept of bi-directional tone mapping. My last job was mostly SDR on an ARRI with some FX6 second unit stuff, and the HDR passes I've pulled focus on before that were pretty standard. We'd usually shoot for a decent negative on the ALEXA Mini and then let grading handle the HDR mastering, often pushing for a certain look that the director approved in a controlled environment.

My fear is that with these new advancements, the foundational understanding of how highlights and shadows will behave might shift dramatically. How are these new technologies truly changing the established HDR workflow and creative approach for those of you who are already hands-on with them? Specifically, how does 'Light Sense' affect on-set decisions, and does bi-directional tone mapping alter the traditional 'shoot for the highest nit' mentality?