I respectfully side with ELI.
First, not only is it not desirable to leave the final processing to the post engineer / Sound Stage, but it isn't professional. They often have a full plate as it is and it is our responsibility to provide them stems that in the best case can be put up to zero and never touched. You'll make good friends with the supervisor and the Re-Recording engineer if they don't have to think about the composers music mix.
This means coming up with a workflow that allows you to hear the stems as they print, allows you to check the summed level, and sounds as close to if not the same as the Stereo mix.
I set up all the stem busses with the exact same processing as I used on the master. It does sound a little different, and maybe it needs a small mix adjustment, but it is an acceptable difference to me. it's also the last time I'll get a chance to make minor tweaks before delivery, and there are always minor tweaks.
One thing I could do in Pro Tools HD that I can't do in Logic. I would sometimes determine my stems at the start of the mix and create all my busses to begin with. Everything was bussed to the correct destination as I went through the mix, that way the final stem print always sounded exactly the same as the mix. With Logic we are writing as we are mixing to save time so I'm not able to be this creative with the bussing for time sake, and for latency issues when recording.... I'm looking into the apogee Symphony to maybe help address some of that.
The Stereo Master processing is usually, in my experience, a quick way to clean up the mix for the client approval. The actual mixing of the score has been happening with nothing or very minimal processing on the master. That's planning ahead so I'm not road blocked into something that becomes a nightmare. : ) Keep in mind too that this is commercial, TV, or Film score mixing. The Stereo Master processing is not going to be the same kind of thing it would be for a pop or rock mix. It physically can't be.