Every frame that misses presents the same temptation: throw tools at it until it looks expensive. The console has four correction routes — editor, face swap, upscaler, regeneration — and they are not interchangeable. Each fixes one shape of problem and makes the others worse. Routing well is mostly diagnosis: name what is actually wrong before you spend anything.
Route to the editor when the bones are right
Pose lands, light lands, but the wardrobe belongs to another pack, the room is wrong, the mood is off. That is a surface problem on a sound frame, and the editor is built for exactly it: one instruction per job, the composition kept, at 21 credits. The tell is that you can describe the fix in one sentence that starts with “change” and ends with “keep everything else identical.” If your sentence needs the word “and” twice, it is not an edit.
Route to the swap when the face is the only stranger
A frame where everything works except the woman in it — the pose you wanted, the face off-spec — is a casting problem. Swapping your anchor face in costs less than re-rendering the pose lottery, and it keeps the series honest. The condition is geometry: source and target must roughly agree on head angle and light, or no swap will save it.
Never route a quality problem to the upscaler
The upscaler raises resolution; it does not raise quality. A soft face becomes a large soft face, a wrong hand becomes a detailed wrong hand. If the problem is in the content of the frame, the fix lives on a lower layer. Upscaling is the last job in the stack, run on frames with no problems left.
Regenerate when the composition itself missed
Some frames are wrong at the skeleton: framing, pose, the whole arrangement. No correction layer repairs a skeleton, and stacking correction jobs on one quickly costs more than the 6-credit render that replaces it. The professional habit is unsentimental — diagnose in one pass, route once, and let the base layer absorb the failures it is priced to absorb.