A gear that jumps two teeth is not faster; it is broken. The editor at this bench works to the same arithmetic: one precise change per pass, stated plainly — the wardrobe, the room or the light — at 21 credits, quoted before the job runs. A brief that asks for three changes gets three reinterpretations; a brief that asks for one gets a repair.
Narrowness is what makes the tool trustworthy. State the single fault in one sentence. State, in the same brief, what must not change — her face, the pose, the light — because the editor holds what it is told to hold. Then judge the repaired frame against the gearworks card like any new frame; a repair that drifts her is a cull, not a keeper.
The same tooth-by-tooth patience orders the whole bench. Prove her in stills at 6 credits before motion is discussed. Prove a swap pairing on one still at 26 before a set is commissioned. Finish with upscalers only when nothing else remains to change — resolution is the last tooth the train ever turns.
Studios that try to move three teeth at once spend their budgets re-meshing. This one moves one, checks the mesh against the card, and moves on.