MASTER THREE-VIEW HAIRSTYLE TRANSFER PROMPT

Create a three-panel triptych for source avatars- match with HAIRSTYLE DNA of your choice, inserting it into the bracketed area.

Create one ultra-photorealistic professional studio composition showing the same person wearing one unchanged physical hairstyle from three precisely controlled camera viewpoints.

INPUT: STANDALONE HAIR MODULE

[PASTE THE COMPLETE STANDALONE HAIR MODULE HERE]

The Standalone Hair Module is the complete and final authority for the hairstyle.

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1. AUTHORITY HIERARCHY

FACIAL IDENTITY AUTHORITY

Use the supplied identity reference photograph or photographs as the sole authority for the person’s:

- recognizable facial identity
- three-dimensional facial structure
- eyes and eyelids
- eye shape and spacing
- eyebrows
- nose
- lips
- cheekbones
- jawline
- chin
- forehead
- ears
- skin tone and undertone
- age
- natural facial asymmetry
- freckles
- beauty marks
- piercings
- authentic skin texture
- head size
- skull proportions
- neck
- shoulders
- body scale

The final composition must depict the exact same recognizable person in all three panels.

Do not beautify, average, smooth, reshape, age-shift, replace, masculinize, feminize, or merge the face with another identity.

Do not alter facial proportions to accommodate the hairstyle.

When multiple identity photographs are supplied, interpret them as different views of one person and construct one consistent three-dimensional identity.

HAIRSTYLE AUTHORITY

Use the Standalone Hair Module as the sole authority for:

- hairstyle identity
- three-dimensional silhouette
- part location
- part direction
- root architecture
- hairline styling
- lace treatment
- baby hairs
- laid edges
- fringe
- face-framing sections
- anatomical-right construction
- anatomical-left construction
- crown
- occipital region
- rear structure
- nape
- layers
- texture
- density
- volume
- length
- perimeter
- color placement
- curls
- waves
- coils
- braids
- twists
- ponytails
- buns
- sculptural elements
- accessories
- material
- surface finish
- attachment
- gravity
- occlusion order
- numbered feature manifest
- non-negotiable recognition features
- style-specific prohibitions

Do not substitute a generic hairstyle from the same category.

Do not simplify, redesign, rebalance, modernize, beautify, or creatively reinterpret the hairstyle.

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2. ORIGINAL-HAIR REPLACEMENT

Completely replace the hairstyle visible in the identity reference.

Do not retain, combine, or blend the person’s existing:

- part
- bangs
- hairline styling
- color
- curls
- waves
- braids
- loose lengths
- extensions
- ponytails
- buns
- accessories
- flyaways

The person’s true forehead, temples, ears, scalp dimensions, head size, and skull shape remain identity data.

The original hairstyle does not remain.

Do not create a double hairline, overlapping hairstyle, visible old roots, ghost hair, or fragments of the original hairstyle.

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3. CANONICAL THREE-DIMENSIONAL SCENE

Before rendering the panels, establish one canonical internal scene containing:

- one person
- one head
- one scalp
- one facial identity
- one body pose
- one wardrobe
- one physical hairstyle
- one fixed lighting arrangement
- three cameras

Construct the hairstyle once from the Standalone Hair Module.

Attach it once to the person’s scalp.

Do not independently generate, reconstruct, restyle, or reinterpret the hairstyle for each panel.

After the hairstyle has been constructed and attached, render the same scene from three camera positions.

Only the camera viewpoint changes.

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4. FIT-TO-PERSON RULE

Fit the hairstyle naturally to the person’s actual:

- scalp
- skull
- forehead
- temples
- ears
- head size
- neck
- shoulders
- body scale

Preserve the hairstyle’s defining:

- proportions
- height
- width
- projection
- side assignments
- scalp origins
- section paths
- endpoints
- crown architecture
- volume peaks
- negative spaces
- length
- perimeter
- color boundaries
- accessory positions
- structural-element count

Make only the minimum adjustment required for physically believable attachment.

Do not enlarge, narrow, flatten, stretch, or reshape the person’s skull to fit the hairstyle.

Do not reduce the hairstyle merely because it is large, long, wide, asymmetric, or sculptural.

The hair must appear naturally attached to the scalp rather than placed on the head as a floating wig or helmet.

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5. IMMUTABLE HAIRSTYLE OBJECT LOCK

Treat the hairstyle as one continuous three-dimensional physical object permanently attached to the person’s head.

Every named section and every numbered feature in the Standalone Hair Module must occupy one permanent world-space location.

For every major hair object, preserve its:

- anatomical side
- scalp origin
- attachment footprint
- direction
- physical path
- curvature
- rotation
- tension
- elevation
- dimensions
- projection
- endpoint
- density
- texture
- strand grouping
- color
- overlap
- occlusion order
- accessory attachment
- relationship to the face, ears, neck, shoulders, and neighboring sections

The only permitted differences between panels are:

- perspective
- foreshortening
- genuine physical occlusion
- the amount of a fixed section visible to the camera
- naturally changing surface reflections

The underlying hairstyle does not change.

Dyed color regions remain fixed. Specular highlights may shift naturally with camera position, but highlights must not be mistaken for changing hair color.

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6. ANATOMICAL-SIDE LOCK

All left and right instructions refer to the subject’s anatomical sides.

Intentional asymmetry is permanent.

A feature assigned to the subject’s anatomical right must remain attached to the anatomical right in every panel.

A feature assigned to the subject’s anatomical left must remain attached to the anatomical left in every panel.

Do not:

- swap sides
- mirror the part
- mirror color placement
- duplicate an asymmetric feature
- create a balancing feature
- redistribute unequal volume
- reverse braids, curls, or accessories
- horizontally flip one panel to imitate the opposite side

Each side panel must be a true camera view of the correct anatomical side.

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7. HAIR-PATH PHYSICS

Every visible major hair section must follow one uninterrupted and physically believable path from its scalp origin or attachment point to its endpoint.

Front hair remains attached to the front hairline.

Temple hair remains attached to the correct temple.

Crown hair remains attached to the crown.

Rear hair remains attached to the crown, occipital region, or nape.

Rear hair may fall naturally over a shoulder only when its continuous path around the head remains physically understandable.

A section may become partly or fully hidden only because the head, body, or another fixed hair section physically blocks it.

Do not allow any hair section to:

- teleport
- change its attachment point
- switch anatomical sides
- divide into unrelated duplicate sections
- merge into an unrelated section
- disappear without genuine occlusion
- become a different type of section
- transform from rear hair into new fringe
- transform from rear hair into a new money piece
- transform from rear hair into an invented face-framing section

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8. NO-INVENTION RULE

Do not invent hairstyle elements that are absent from the Standalone Hair Module.

Do not add:

- extra bangs
- extra tendrils
- balancing face-framing layers
- duplicate money pieces
- mirrored color panels
- replacement fringe
- additional curls
- additional braids
- additional twists
- extra ponytails
- extra buns
- extra accessories
- compensating side volume
- artificial symmetry
- decorative flyaways
- unlisted highlights
- unlisted underlayers
- visible support structures

Infer only the minimum invisible structural support required for physical plausibility. Invisible support must not create new visible volume, color, decoration, or focal features.

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9. FINAL COMPOSITION

Create one wide landscape triptych containing exactly three equal vertical portrait panels.

Use an overall canvas approximately equivalent to three equal 4:5 portrait panels placed side by side.

Separate the panels with narrow, clean, neutral gutters.

Do not render:

- written labels
- captions
- angle names
- camera diagrams
- borders around the subject
- duplicated faces
- blended transitions
- a fourth panel
- extra figures
- collage fragments

Each panel contains one complete view of the same person.

PANEL ORDER

LEFT PANEL: straight-on front view
CENTER PANEL: anatomical-right three-quarter view
RIGHT PANEL: anatomical-left three-quarter view

Do not change this order.

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10. LEFT PANEL — STRAIGHT-ON FRONT VIEW

Use a true frontal camera position at 0-degree horizontal azimuth.

The person’s:

- head is level
- chin is neutral
- face points directly forward
- shoulders remain square in world space
- anatomical left appears on image-right
- anatomical right appears on image-left

Show clearly:

- complete frontal hairstyle silhouette
- full hairline
- part placement
- part direction
- scalp visibility
- root direction
- root elevation
- baby hairs
- laid edges
- fringe
- forehead relationship
- both temples
- both face-framing regions
- crown height
- frontal volume
- side projection visible from the front
- front color placement
- complete visible length
- final perimeter

Do not turn or tilt the head.

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11. CENTER PANEL — ANATOMICAL-RIGHT THREE-QUARTER VIEW

Move the camera approximately 45 degrees around toward the subject’s anatomical right.

Do not rotate the hairstyle or create a mirrored front image.

The subject’s:

- anatomical-right cheek is nearer the camera
- anatomical-right ear is nearer the camera
- anatomical-right temple is nearer the camera
- nose points toward frame-right
- anatomical-left side becomes the farther side

Show clearly:

- true anatomical-right silhouette
- right hairline and temple
- right ear relationship
- part foreshortening
- root direction
- right-side volume
- crown projection
- occipital projection
- visible rear mass
- right-side layers
- right-side texture
- right-side color placement
- right-side structural elements
- right-side accessories
- length and perimeter
- physically correct visibility of far-side features

This must not be a horizontally flipped version of the anatomical-left panel.

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12. RIGHT PANEL — ANATOMICAL-LEFT THREE-QUARTER VIEW

Move the camera approximately 45 degrees around toward the subject’s anatomical left.

Do not rotate the hairstyle or create a mirrored front image.

The subject’s:

- anatomical-left cheek is nearer the camera
- anatomical-left ear is nearer the camera
- anatomical-left temple is nearer the camera
- nose points toward frame-left
- anatomical-right side becomes the farther side

Show clearly:

- true anatomical-left silhouette
- left hairline and temple
- left ear relationship
- part foreshortening
- root direction
- left-side volume
- crown projection
- occipital projection
- visible rear mass
- left-side layers
- left-side texture
- left-side color placement
- left-side structural elements
- left-side accessories
- length and perimeter
- physically correct visibility of far-side features

This must not be a horizontally flipped version of the anatomical-right panel.

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13. CAMERA-ORBIT LOCK

The three panels represent three photographs from one continuous professional studio session.

The person, hairstyle, clothing, head position, and body position remain fixed in world space.

The camera moves around the subject on one horizontal orbit.

Use the same:

- camera model
- focal length
- camera elevation
- camera-to-subject radius
- sensor perspective
- exposure
- depth of field
- eye-line height
- face scale
- crop family

Do not simulate the different views by changing facial anatomy or independently turning the head in unrelated directions.

Allow only the natural perspective change created by the camera orbit.

Keep the same neutral expression in every panel. The eyes may direct naturally toward the active camera, but the head must remain level and structurally consistent.

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14. POSE, FRAMING, AND CROP

Use a calm, neutral expression.

Keep hands outside the frame.

Keep shoulders relaxed and the body upright.

Center each panel using the center of the skull rather than the outer edge of the hairstyle. Allow additional space on whichever side the hairstyle naturally projects farther.

Use one common crop scale based on the largest and longest view.

Include without cropping:

- complete crown
- all side volume
- all sculptural elements
- every accessory
- the full visible perimeter
- the complete ends of the hairstyle

For long hair, widen or deepen all three panels equally rather than cutting off the ends.

Maintain the same face size and eye-line height across the three panels.

Do not enlarge one face or zoom farther into one panel.

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15. WARDROBE

Use the same simple, elegant, nonreflective studio wardrobe in every panel.

Choose either a matte light-stone top or a matte charcoal top, selecting whichever creates stronger separation from the hairstyle.

Once selected, use the exact same wardrobe in all three panels.

The top must have:

- no pattern
- no sequins
- no reflective fabric
- no logo
- no high collar
- no scarf
- no hood
- no large jewelry
- no element obscuring the hair

Preserve any facial piercings that are part of the identity reference.

Do not add earrings unless they are present in the identity reference or explicitly required by the Hair Module.

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16. BACKGROUND

Use one continuous seamless matte medium-neutral-gray studio cyclorama.

Use the identical background tone in all three panels.

The background must clearly separate:

- dark hair edges
- light hair edges
- colored hair sections
- fine flyaways
- transparent lace
- sculptural outer contours

Do not use gradients, scenery, furniture, windows, patterns, colored lights, environmental reflections, or distracting props.

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17. LIGHTING

Use one fixed, neutral, color-accurate professional studio lighting arrangement:

- one large diffused octabox above and slightly in front
- soft frontal fill revealing internal hair texture
- restrained rear rim light on both sides
- subtle separation across dark hair masses
- controlled highlights on light or glossy hair
- natural dimensional facial shadows

Keep all lights fixed in world space while the camera moves.

Preserve detail throughout the hairstyle.

Do not produce:

- crushed black hair
- clipped blonde highlights
- blown lace
- flat lighting
- colored-light contamination
- excessive rim-light halos
- oily skin glare
- artificial shine painted onto the hair

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18. CAMERA AND TECHNICAL QUALITY

Simulate a tripod-mounted Hasselblad X2D 100C with an XCD 90 mm portrait lens.

Use the visual equivalent of:

- ISO 64
- f/8
- 1/160 second
- synchronized studio strobes
- fixed camera-to-subject radius
- accurate focus on the eyes and frontal hairline
- sufficient depth of field to resolve the full hairstyle

Produce clean, color-managed, ultra-detailed professional studio photography.

The result must contain:

- authentic skin pores
- natural facial texture
- individually resolved hair fibers
- realistic strand overlap
- accurate dyed-color boundaries
- detailed shadow regions
- controlled highlights
- clean lace integration
- natural depth
- crisp but non-digital edge definition
- photoshoot-ready clarity

Do not produce:

- sensor noise
- film grain
- motion blur
- focus blur
- compression artifacts
- banding
- posterization
- halos
- chromatic fringing
- plastic fiber
- helmet-like hair
- painted hair texture
- waxy skin
- CGI appearance
- excessive skin smoothing
- aggressive oversharpening

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19. CROSS-PANEL IDENTITY LOCK

All three panels must depict the same person.

Preserve exactly across the panels:

- facial proportions
- eye shape
- eyelid shape
- eye spacing
- eyebrow shape
- nose structure
- lip shape
- cheekbone structure
- jawline
- chin
- forehead
- ears
- skin tone
- age
- facial asymmetry
- freckles
- beauty marks
- piercings
- skin texture

Perspective may alter the visible projection of the features, but their three-dimensional structure must remain unchanged.

Do not generate three similar-looking models.

Do not modify the face to create the side views.

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20. CROSS-PANEL HAIRSTYLE LOCK

All three panels must depict one identical physical hairstyle.

Preserve exactly across the panels:

- part position
- part path
- root direction
- hairline
- baby hairs
- fringe origin
- fringe path
- fringe endpoint
- anatomical-right construction
- anatomical-left construction
- crown architecture
- rear architecture
- density distribution
- volume peaks
- compressed regions
- negative spaces
- curl diameter
- curl direction
- wave spacing
- strand grouping
- braid count
- twist count
- bun count
- ponytail count
- structural-element count
- accessory count
- accessory attachment
- layer structure
- length
- perimeter
- root color
- base color
- highlight placement
- lowlight placement
- color-panel placement
- underlayer placement
- gradients
- dyed endpoints
- distinctive flyaways
- every numbered feature in the Hair Module

A feature may become hidden only through genuine three-dimensional occlusion.

No feature may be mirrored, relocated, duplicated, removed, simplified, recolored, shortened, lengthened, or replaced.

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21. FINAL INTERNAL VALIDATION

Before producing the final image, inspect the full three-panel composition and correct any inconsistency.

Confirm that:

- exactly three panels exist
- the panel order is front, anatomical-right three-quarter, anatomical-left three-quarter
- the front view is truly frontal
- the center panel shows the subject’s true anatomical right
- the right panel shows the subject’s true anatomical left
- neither side panel is horizontally flipped
- all three faces depict the same person
- the facial identity has not drifted
- the hairstyle was constructed once rather than independently per panel
- the part remains in the same physical location
- the hairline remains identical
- color placement remains anatomically fixed
- all asymmetrical features remain on their assigned side
- no new hair sections have appeared
- no existing sections have disappeared without physical occlusion
- front hair remains front hair
- rear hair remains rear hair
- no feature has been mirrored
- no feature has been duplicated
- no hairstyle element has been simplified
- accessory count and placement remain unchanged
- the crown, side volume, and ends are fully visible
- the background, wardrobe, lighting, face scale, and camera treatment match
- the final result is clean, sharp, realistic, color accurate, and free of noise

Output only the finished three-panel photographic composition.