Through practice as research, I investigate the intersectionality between editing and choice-making in live dance versus screendance film. I aim to expand my choreographic practice by utilizing film theory, editing techniques, and camera techniques to foster a more visceral experience for the audience. Within my process, I utilize projection on dancers’ bodies to question who the performers are when the mediated is combined with the living body. I invite the audience to frame the dancers using various tools and explore a preferred perspective. I find unconventional installation space to decrease separation between the spectator, the dancers, and my process - finding circularity and junction between these various components of the performance. Additionally, in this research, the dancers gain an acute understanding of the process, as they do not know which choices will be made or how the dance will progress, and are required to create meaning based on the organization of film, projection, and live dance material. Furthermore, I consistently practice in the medium, creating dance films that employ projection, explore lighting, and embodied camera work, which are now used in combination with live performance to create installation work. This research agenda has inspired me to develop a screendance curriculum for undergraduate students and has assisted me in editing, camera work, and transforming the way I visualize screendance film.