Also notice the moiré patterns in the red-leaf fabric and green bottle label are no longer present with pixel-shift mode. It's about the same size as the four ARW files, but it's more convenient than dealing with separate files.) Sony A7R III Single shot vs Pixel-shift mode at Base ISOĪs you can see, the pixel-shift image crops on the right contain much finer and better defined detail than the single-shot images straight from the camera on the left. Sony's software can also generate a single ARQ RAW file ("Q" for "Quad" we assume), which you can download here: A7R3hSLI000100_PSM.ARQ. Instead, the A7R III just saves four RAW files and you can use Sony's free Image Edge software to process them into a composite JPEG (or TIFF) on a Windows or Mac PC, which we have done below in a base ISO comparison using default software and camera settings. The Sony A7R III can't combine the images in-camera like other cameras can, though. Like most implementations, the A7R III's pixel-shift mode isn't designed for moving subjects, and can't tolerate any camera movement either it's designed for stationary shooting of still life, landscapes, architectural and other static subjects. (Unlike the Olympus and Panasonic systems which make sub-pixel sensor shifts, taking eight shots and producing an image with a higher pixel count than the sensor.) This eliminates the need to use Bayer color interpolation and demosaicing, producing an image with the same native pixel count but with greater detail and fewer artifacts. The Sony A7R Mark III offers a new "Pixel-Shift Multi Shooting" mode in which the camera takes a series of four images while moving the sensor by one pixel location between exposures to capture full color information for each pixel. The Nikon D850 produces slightly better detail and higher contrast than the Sony A7R III, however sharpening halos are the most visible in this comparison. Contrast isn't quite as good, though, and sharpening halos are a little more evident than from the Sonys or Canon. Unsurprisingly, the Fuji GFX comes out ahead here in terms of detail. The Canon 5DS R does resolve more detail at base ISO, but higher noise and a drop in contrast make it lag behind the rest of the pack at higher ISOs. Performance is very similar to the Sony A99 II, but with improved color. Here, we can see the A7R III shows minor improvements over the A7R II, in both color and contrast. High-contrast detail is also important, pushing the camera in different ways, so we like to look at it too. Sony A7R II, Sony A99 II, Canon 5DS R, Fujifilm GFX, Nikon D850ĭetail comparison. Overall, we'd say the Sony comes out ahead here, though it's really up to personal preference. The Nikon D850 image is softer and less detailed here at ISO 3200, but like we saw at ISO 1600, luma noise looks more natural and film-like, chroma noise is lower, low-contrast edges are better defined, and colors are warmer than from the Sony A7R III. And remember, you can always go to our world-renowned Comparometer to compare the Sony A7R III to any camera we've ever tested! Sony A7R III vs Sony A7R II at Base ISO For those interested in working with the RAW files involved: click these links to visit each camera's respective sample image thumbnail page: Sony A7R III, Sony A7R II, Sony A99 II, Canon 5DS R, Fuji GFX and Nikon D850 - links to the RAW files appear beneath those for the JPEG images, wherever we have them. Clicking any crop will take you to a carrier page where you can click once again to access the full resolution image as delivered straight from the camera. All cameras in this comparison were shot with our very sharp reference lenses. NOTE: These images are from best quality JPEGs straight out of the camera, at default settings including noise reduction and using the camera's actual base ISO (not extended ISO settings). We've also included a single-shot to Pixel-Shift mode comparison at base ISO. We've also compared the A7R III to a couple of high-resolution DSLRs from Canon and Nikon, namely the Canon 5DS R and Nikon D850, as well as to Fuji's GFX 50S for a comparison to a current-generation medium-format camera. Below are crops from our laboratory Still Life target comparing the Sony A7R Mark III's JPEG image quality to its predecessor, the A7R Mark II, as well as to its A-mount sibling, the Sony A99 Mark II.
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