The physical movement / choreography (Pc) and the virtual movement / choreography (Vc) can relate to each other in a variety of ways (see also Stuart 2003, 2004a, 2004b, Stuart 2004c, Curson 2004 & see Summary of Stuart 2004b):

DIRECTLY

1. Either one of them can follow the other's rhythm of movement
2. Either one of them can follow the other's dynamics of movement
3. Either one of them can follow the other's spatial movement, and this can be by one or any combination of the following:
direction of movement
orientation of movement
location of movement
4. The Pc can be moulded to fit into a visual composition setup by the Vc, in a manner of a photograph or painting but with a temporal component.
5. Framing of the Vc can be used to create a visually sympathetic composition with the Pc
6. Pc and Vc movement can be seemingly unrelated but a significant change in one can be accompanied by a different significant change in the other, whether the change is one of speed, direction, orientation or an edited cut /fast movement to another position,

INDIRECTLY

1. They can both follow dynamics of music
2. They can both follow a narrative literal or metaphoric, relating, for example to the content of the 3D model's imagery
3. They can both relate independently to the same quality of movement or movement style e.g. staccato.

In any one scene the above relationships can be invoked in almost any combination simultaneously or sequentially. Further, the Vc can be cut like a film over the top of a continuously moving dancer, that is, with no distinguishable change in Pc; or the Pc can change dramatically (e.g. change of dancer or major change in quality of dance possibly including music change) with a Vc cut to become a whole new scene (usually including a change in 3D model); or a new sub-scene can be defined by a Vc cut (usually same 3D model) with some minor change in Pc, for example change in dynamics or even entrance/exit of dancer providing at least one other dancer is 'holding' the scene or the dancer returns to stage imminently.

See Summary of Stuart, 2004b

0.4 Home Page, 'Beginning', Conclusion, Acknowledgements, References, Rhizomes Performances, Performances as References