Prerecord

You record the music or dialogue before the actual shoot — the actor then lip-syncs live to the playback later. This gives you enormous flexibility on set: the camera is rolling, the lighting is perfect, and the performance follows an already perfectly produced audio track. This is classic for musicals, where singers often can't manage complex choreography simultaneously, or for dance scenes where rhythm is of absolute priority.

The practice works like this: You record the music or dialogue in a studio — ideally with the same singer or speaker who will perform in front of the camera later. This track is played through the set speakers during the recording, and the performer lip-syncs live to the playback. This sounds simple but requires high discipline: the performer must have internalized the rhythm, the lips must truly match, otherwise, you'll immediately see the mismatch in the edit. As a DoP, you work with a stable camera — handheld is possible but must be precise because the lip-sync will betray you.

The biggest advantage: You can perfect the music or dialogue before a single camera starts rolling. No wind problems, no room acoustics, no actors with voices that are too quiet. This is invaluable, especially for demanding choreography or dance films — the rhythm is guaranteed, and the performer can concentrate 100% on their physical performance. In the edit, the playback track is often fine-tuned or completely replaced if the lip-sync isn't perfect.

Caution: This procedure is immediately obvious if done poorly. Lips and audio must be perfectly aligned. For dialogue, the effect is less critical than for singing, where every syllable counts. Some projects combine prerecording with live recording — recording the music live in addition and mixing later — this gives the scene authenticity but costs time and perfection. This is rather rare in modern cinema, except for documentaries or deliberately unpolished aesthetics.