{"course":{"slug":"ai-images","title":"Image Generation, in Practice","url":"https://addaly.com/learn/ai-images","level":"beginner","track":"create"},"lesson":{"slug":"the-revision-round","title":"When \"just change one thing\" is a rebuild","url":"https://addaly.com/learn/ai-images/the-revision-round","position":69,"of":69,"minutes":8,"answer":"Revisions divide into adjustments, regional changes and structural changes, and the professional skill is saying which category a request falls into before agreeing to it.","keyIdea":"Revisions divide into adjustments, regional changes and structural changes, and the professional skill is saying which category a request falls into before agreeing to it."},"body":{"format":"markdown","text":"## Three categories, very different costs\n\n**Adjustment.** Colour, contrast, crop, grade, grain. Minutes, and non-destructive if your files are layered.\n\n*\"Warmer.\" \"A bit brighter.\" \"Crop tighter.\" \"Less grain.\"*\n\n**Regional.** One area regenerated or replaced. Thirty to ninety minutes, and it may disturb the areas around it.\n\n*\"Different jar.\" \"Change her top.\" \"Remove the object on the left.\" \"Different expression.\"*\n\n**Structural.** The composition, the pose, the perspective, the light. This is a new image, and everything downstream (repair, compositing, grade) is repeated.\n\n*\"Can she face the other way?\" \"Can we see more of the room?\" \"Can the light come from the right?\" \"Can there be two people?\"*\n\nA client cannot tell these apart, and there is no reason they should. Saying which one a request is, before starting, is your job.\n\n## The sentence to have ready\n\n> \"That's a structural change rather than an adjustment: it means a new frame and about half a day, because the repair and compositing have to be redone on top of it. I can do it; I want to flag it so you can decide whether it's worth it.\"\n\nThree things make it work. It is not a refusal. It states the cost in time rather than in blame. And it hands the decision to them, which is where it belongs.\n\nSaid before starting, that is competence. Said afterwards with an invoice attached, it is a dispute.\n\n## Reducing how often it happens\n\n**Approve the anchor before building the set.** The consistency block's central discipline, and the largest single reducer of structural revisions.\n\n**Show composition early, cheaply.** A rough contact sheet at concept stage catches \"she should be facing the other way\" when it costs a minute, rather than after three hours of repair.\n\n**Write the rounds into the spec.** Two rounds included, structural changes are a new round. Agreed on day one, this is an administrative fact rather than an argument.\n\n**Keep the layered file.** Most adjustments and some regional changes are minutes *if* the work is layered and the raw generation is preserved. If you flattened everything, an adjustment becomes a rebuild for reasons that are entirely your own fault.\n\n## When the request is unclear\n\n\"Can you make it pop?\" and \"it's not quite there\" are real and frequent. They are not unreasonable: clients are describing a feeling and do not have the vocabulary.\n\nTurn it into a choice. Produce three versions: more contrast, warmer, tighter crop. Send all three. They will pick one, and from the pick you learn what they meant far more reliably than from any amount of questioning.\n\nThe visual-storytelling course in this catalogue covers this conversation properly. The version that belongs here: **never guess twice.** If one attempt at interpreting a vague note misses, stop and make it concrete before spending another hour.\n\n## The one to push back on\n\nOccasionally the request makes the work worse, and you can see it. A crop that breaks the composition, a colour that fights the brand, type that will not be legible.\n\nSay it once, clearly, with the reason and the consequence (\"at that crop the headline drops below the contrast threshold and will be unreadable on a phone\") and then do what they ask if they still want it. You are an adviser rather than a gatekeeper, and having said it once in writing is both the professional obligation and the protection.\n\nWhat is not worth doing is refusing, or complying silently and resenting it. The first ends relationships and the second ends them more slowly.\n\n## The limit\n\nSome revisions cannot be done at any price, and it is better to say so immediately. \"Can we use this same image but with a different product?\" on an image where the product is lit into the scene is not a revision; it is a new job. \"Can you make it look like a photograph?\" when the client means a real photograph of a real thing is a brief change, not a note.\n\nBeing clear about those quickly, with an alternative offered, is far better received than a week of attempts followed by an apology. Clients remember what you delivered and how predictable you were. Almost nobody remembers which revision round something was fixed in."},"check":{"question":"A client asks for the subject to face the other way. How should this be categorised and handled?","options":[{"text":"As a regional change, since only the subject is altered while the background and lighting of the frame remain untouched.","correct":false,"tempting":"Reversing a subject changes how the light falls on them and how they sit against the background, so nothing downstream survives it."},{"text":"As an adjustment, because a horizontal flip achieves it in seconds without any regeneration being required at all.","correct":false,"tempting":"A flip reverses the entire frame including the background, any text and the light direction, so it is not the same request."},{"text":"As a structural change: flag the cost before starting, since it is a new frame with all the repair and compositing repeated.","correct":true},{"text":"As a structural change that should be declined, because it invalidates the approved composition the client already signed off on.","correct":false,"tempting":"Declining is not the professional response; the job is to state the cost and let the client decide whether the change is worth it."}]},"prev":{"slug":"alt-text-and-accessibility","title":"Describing the image, including what it is","url":"https://addaly.com/learn/ai-images/alt-text-and-accessibility"},"next":null,"authorship":"Founder and series editor: Dr Mustafa Mun. Written by AI models to a written standard. Exam keys checked blind by a second model: 3,665 of 3,666 agreed. Academic review invited.","review":{"status":"Draft, open for academic review"},"cite":"Addaly (2026) 'When \"just change one thing\" is a rebuild', in Image Generation, in Practice. Edited by M. Mun. Addaly. Available at: https://addaly.com/learn/ai-images/the-revision-round (Accessed: 13 October 2026).","licence":{"name":"CC BY-NC-SA 4.0","url":"https://creativecommons.org/licenses/by-nc-sa/4.0/"},"reader":{"schema":1,"title":"When “just change one thing” is a rebuild","courseTitle":"Image Generation, in Practice","module":{"index":7,"slug":"finishing","title":"Finishing and handing over"},"answer":null,"keyIdea":"Revisions divide into adjustments, regional changes and structural changes, and the professional skill is saying which category a request falls into before agreeing to it.","hero":{"kind":"plate","image":null,"alt":null,"caption":null},"blocks":[{"t":"h2","id":"three-categories-very-different-costs","runs":[{"text":"Three categories, very different costs"}]},{"t":"p","runs":[{"text":"Adjustment.","b":true},{"text":" Colour, contrast, crop, grade, grain. Minutes, and non-destructive if your files are layered."}]},{"t":"p","runs":[{"text":"”Warmer.” “A bit brighter.” “Crop tighter.” “Less grain.”","i":true}]},{"t":"p","runs":[{"text":"Regional.","b":true},{"text":" One area regenerated or replaced. Thirty to ninety minutes, and it may disturb the areas around it."}]},{"t":"p","runs":[{"text":"”Different jar.” “Change her top.” “Remove the object on the left.” “Different expression.”","i":true}]},{"t":"p","runs":[{"text":"Structural.","b":true},{"text":" The composition, the pose, the perspective, the light. This is a new image, and everything downstream (repair, compositing, grade) is repeated."}]},{"t":"p","runs":[{"text":"”Can she face the other way?” “Can we see more of the room?” “Can the light come from the right?” “Can there be two people?”","i":true}]},{"t":"p","runs":[{"text":"A client cannot tell these apart, and there is no reason they should. Saying which one a request is, before starting, is your job."}]},{"t":"h2","id":"the-sentence-to-have-ready","runs":[{"text":"The sentence to have ready"}]},{"t":"quote","runs":[{"text":"“That’s a structural change rather than an adjustment: it means a new frame and about half a day, because the repair and compositing have to be redone on top of it. I can do it; I want to flag it so you can decide whether it’s worth it.”"}]},{"t":"p","runs":[{"text":"Three things make it work. It is not a refusal. It states the cost in time rather than in blame. And it hands the decision to them, which is where it belongs."}]},{"t":"p","runs":[{"text":"Said before starting, that is competence. Said afterwards with an invoice attached, it is a dispute."}]},{"t":"h2","id":"reducing-how-often-it-happens","runs":[{"text":"Reducing how often it happens"}]},{"t":"p","runs":[{"text":"Approve the anchor before building the set.","b":true},{"text":" The consistency block’s central discipline, and the largest single reducer of structural revisions."}]},{"t":"p","runs":[{"text":"Show composition early, cheaply.","b":true},{"text":" A rough contact sheet at concept stage catches “she should be facing the other way” when it costs a minute, rather than after three hours of repair."}]},{"t":"p","runs":[{"text":"Write the rounds into the spec.","b":true},{"text":" Two rounds included, structural changes are a new round. Agreed on day one, this is an administrative fact rather than an argument."}]},{"t":"p","runs":[{"text":"Keep the layered file.","b":true},{"text":" Most adjustments and some regional changes are minutes "},{"text":"if","i":true},{"text":" the work is layered and the raw generation is preserved. If you flattened everything, an adjustment becomes a rebuild for reasons that are entirely your own fault."}]},{"t":"h2","id":"when-the-request-is-unclear","runs":[{"text":"When the request is unclear"}]},{"t":"p","runs":[{"text":"“Can you make it pop?” and “it’s not quite there” are real and frequent. They are not unreasonable: clients are describing a feeling and do not have the vocabulary."}]},{"t":"p","runs":[{"text":"Turn it into a choice. Produce three versions: more contrast, warmer, tighter crop. Send all three. They will pick one, and from the pick you learn what they meant far more reliably than from any amount of questioning."}]},{"t":"p","runs":[{"text":"The visual-storytelling course in this catalogue covers this conversation properly. The version that belongs here: "},{"text":"never guess twice.","b":true},{"text":" If one attempt at interpreting a vague note misses, stop and make it concrete before spending another hour."}]},{"t":"h2","id":"the-one-to-push-back-on","runs":[{"text":"The one to push back on"}]},{"t":"p","runs":[{"text":"Occasionally the request makes the work worse, and you can see it. A crop that breaks the composition, a colour that fights the brand, type that will not be legible."}]},{"t":"p","runs":[{"text":"Say it once, clearly, with the reason and the consequence (“at that crop the headline drops below the contrast threshold and will be unreadable on a phone”) and then do what they ask if they still want it. 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