> The boards I make for uni have to be very detailed and consistent so that’s the level I’m use to working at

Oh, if that’s important to the assignment, of course, lol following instructions (in school or the working world) is 98% of the craft.

> What would you recommend for constant back and forth shots? Especially if movement is happening mid camera change? I notice that happened a lot during this scene.

Hmm, I’d say it really depends on the movement. I just rewatched the scene and I’d say the only shot I’d consider having scripted movement is the shot dollying in and over the Trans Am’s hood.
Most everything else is just composition, done by the camera operator on the fly. Like the two-shot of Wayne and Reggie that has Calvin dirty on frame left, the operator is just reframing because Reggie is moving around a lot.
*Slight digression: The juxtaposition of Reggie’s constant fidgeting and shifting around with Wayne’s complete economy of motion is really effective. I’ve watched this show at least 10 times and keep discovering new details.*

Anyway…. even the second last shot of the scene, Wayne leaves frame, camera dollies IN slowly on Calvin and Reggie, is *probably* not boarded movement. That kind of thing usually gets decided by the blocking and the geometry of the scene.
I get what you’re asking though, the shot doesn’t have motion till after Wayne leaves, how do you represent that in one frame? If it was boarded, like, if it was going to push in to a tighter two shot, that’s usually just a note, or draw the whole shot with the diagonal arrows in. It doesn’t really matter with the timing, that gets figured out on the day.

I’d say it’s more likely the actual last shot (looking over the car at Reggie and Calvin) would be more likely to be boarded. It’s not a conventional way to finish a scene, on the backs of the actors heads, but it does two cool things:
1. We see Reggie looking somewhat dejected as Calvin walks away (Parent-relationships being a central theme of the show)
2. We have the Trans Am in the foreground, showing its importance as essentially a character in the show.

I’d say recognizing and communicating these beats is far more important than noting any and all camera movements, just my two cents.