It's fine to start from a 'value free' or neutral mathematical 'absolute zero.' Nevertheless, an experienced Camera Operator will already have heaps of ideas and instincts both story-driven and otherwise to bring to the party. Framing, these days, can be a joy of collaboration or a nightmare. Collaboration tends to yield the best result. And by 'best' I mean the result that pleases the greatest amount of people who might even remotely know what they're talking about. And in these Millennial days, I find myself forgiving a lot when I detect passion or determination in a young colleague.
Panning on a super wide lens sucks. Wait till you're tight to do that.
Too Wide. Shalom.
If you've got the angeneux short zooms 15-40 and 28-76 you're done. All you'll ever need for inside a car. Outside mounts you'll start to need the 45-120 for singles.
Don't ever do that again.
If you don't like bumps, you should shoot green screen. That generally looks like shit, though. Cars driving in real life have vibration. Maybe your show takes place in space with no vibration. What a load of shit.