I was lucky enough to hear Ann Bogart give a lecture when she was in town. One of her graduates from her directing program tought my directing class as well as movement for the actor classes. I have to say the work I did with him during the directing class was some of the most exciting of my college coursework.
Viewpoint work is a powerful tool for actors and directors. As a stage manager, I am sure that I would have heightened awareness of the physical movement of a piece. In terms of blocking notes, I would approach it like I would for taking dance notes. If your piece has actors moving to music, a break down of the counts will help; if not I would simply write out the sequence of movements in the order they happen. It may help to create group once you have a sequence together that repeted. This was you dont have to write out each move, but rather write something like: Actor A does Seq. 1 (or) A (or) I.
When you start to deal with tempo (both physical and vocal) you can use your stopwatch to time pauses. In terms of vocal viewpoints of acceleration and deceleration you may want to take a few timing marks. I mark these in square boxes above the text. However, you must remember that viewpoint work requires a lot of experimentation and you as the stage manager must embrace that idea and be ready to make adjustments to your timing notes and movement sequences.
I have never really given a lot of thought to stage management and viewpoint work, but now this has me thinking so maybe I will have more thoughts to come!