Finding a 1AC's Eye in Composition

I've been consciously working on how I see composition, not just as a viewer, but actively seeking out potential issues for the camera department. Recently, on a commercial shoot with an A camera operator known for very delicate, almost imperceptible dolly moves, I tried to anticipate their framing and mark my focus points closer to the edges of the frame rather than strictly center. The idea was to keep our talent sharp even if they drifted slightly with a subtle push-in or pull-out. This worked surprisingly well for maintaining essential talent sharpness without needing to micro-pull through a nearly static frame, giving the operator more freedom. What didn't work as well was applying this to wider shots where the talent occupied a smaller percentage of the frame; the perceived 'drift' was less impactful there and my off-center marks sometimes felt less intuitive to hit. It made me realize that while anticipating camera movement is key, the degree to which you 'cheat' your focus points laterally depends heavily on the shot's tightness and the operator's style. How do others balance anticipating subtle compositional shifts with the 'true' center of interest for marking?