Changed anchors and campaigns

Change only the anchor the client named, remake it as a new image, and ask before touching anything that depends on it.

When the client changes an anchor (decided):

1. Log the note and restate its scope. Change only the named anchor; everything the client didn't mention stays exactly as it was (see The stages and gates → Handling notes).

2. Route clashes: a note against your locked values, another note or a standing rule comes to you to decide. A note that changes a core element of the brief is the client's right, logged with its knock-on effects before you act.

3. Estimate the remake, then remake it as a new image from its sources with the one change, the full-size check after it, and a new version suffix. The old file moves to the round's Archive and is never overwritten. Never a pixel fix.

4. List what depends on it and decide before remaking any of it: state sheets made from a changed wardrobe look; reverse and coverage plates from a changed master plate; the place motion check if the geography or a moving detail changed; internal frames; your shot plan's rows; the estimate. Never widen the note.

5. A changed voice: recast or re-record, re-measure, and update the plan's windows; speaking shots wait for the new locked take.

6. Re-present only what changed, with a "Your notes" page, on a new link with the next version number; earlier approvals stay for everything else.

7. After video has started, takes made with the old anchor are judged again against the new one; affected shots are re-planned and priced before any spend. Replaced takes go to Archive.

Campaigns and series [best available, not yet validated]:

1. Reuse, don't remake. A returning character, place or product starts from its approved anchors, copied into the new project's first round under their original names, with the source film and date in the asset list. The earlier project's files are never moved or changed.

2. Version wardrobe looks by film. A new wardrobe, hairstyle or state is a new look or state sheet with its own ID, made from the approved close-up and sheet. An earlier look is never overwritten, so any film of the campaign can be remade.

3. Check again after a model change. If the image or video model's version changed since the anchors were made, make one identity draft per returning face and one draft per returning place before production, judged at full size against the original close-up and plate. A face that drifts gets a fresh sheet from its original face source.

4. A trained identity comes into question when a character recurs in more than about three films or a series; until it is chosen, the identity set stays the close-up and sheets (see Tools at a glance → Not needed, and why).

5. The client confirms returning anchors again in the new film's anchors presentation, marked plainly as returning.

Sources

• This Guide's rules for client notes; the campaign method is this Guide's own, with no creator method yet beyond a trained identity.