Finding the Beat: Choreographing a Steadicam Ballet

I recently prepped for a shot that involved tracking a dancer through a complex, multi-room set piece (basically a three-minute, continuous Steadicam take with precise 'hits' to specific marks. What I tried differently this time was a significantly extended pre-viz period using blocking tape and a stand-in from the grip department, not just to nail my path, but to feel the rhythm of the dancer's movements without the actual dancer there. This meant mapping out not just the marks, but the subtle accelerations and decelerations I'd need to match. It worked incredibly well for anticipating weight shifts and pivot points; I discovered a need for a specific toe-in step around a corner that I never would have seen with just a diagram. What didn't work initially was trying to match every single subtle balletic movement) I realized some moments just needed to be a smooth, supporting float rather than a reactive mirror. Finding that balance between 'leading' and 'following' was key. How do others approach integrating an operator's 'performance' into highly choreographed scenes?