Series drift is usually blamed on the model. Read the prompts instead. The character is re-described from memory each time, and memory edits as it goes: “long dark-brown hair” in March becomes “flowing brunette hair” in April, and the audience watches a stranger quietly take over the feed. The repair is cartographic. Plot the woman once, in words you paste rather than retype, and treat that text as the baseline every later frame is measured against.
Five coordinates, in order
A working baseline holds five readings. Age — a number, always 25 or over. Hair — colour, length, one habitual style. Build — two or three words, no more. Face — one or two details that endure. Benchmark — the mole, the scar, the mark that survives a crop. Everything else belongs to the scene line: dress, room, light, pose. Scene lines are meant to move. Coordinates are not.
Two habits keep the baseline true. Coordinates are stated plainly and positively — “long dark-brown hair in a halo crown braid” survives generation, while “beautiful hair” is re-interpreted at every attempt. And the baseline is versioned. When the character is deliberately re-plotted — a new cut, a new benchmark — the new text is filed as version two, with a date, so an old set can still be re-measured exactly as it was.
Working from it
Production then becomes quiet fieldwork. Pair the baseline with scene lines that share one room and one light, and render the set at the standard model’s 6-credit price. Keep the best third. Spend on corrections, transfers and enlargements only after the cull. When a frame returns off character, the cause is almost always legible: a scene line contradicted a coordinate, or a coordinate was too vague to hold a reading. Both are fixed on paper, not in settings.
What it cannot do
It cannot hold a woman who was never plotted. If the coordinates are adjectives — lovely, striking, perfect — no system will keep her in register. Decide her on paper first. The baseline is not where the imagination happens. It is where the imagination is kept.