Pixel-Shift saves the day

[Terrible Photographer]

After all these years, it's finally a relief to have Multishot in a Nikon! I still wish it could do it in-camera, but the workflow isn't terrible with NX.

Architecture shoot yesterday, Z6III Wi-Fi tether to Capture One, the curtains in this room were wreaking havoc for moire. 4-Pass straight to the computer, render out a .NEFX and bob's your uncle!

Instead of having to recolorize or test my luck with the moire reduction slider, I can just eliminate false color from the source and move on, saving me time and effort in retouching. And retouching can't fix geometric moire where you start seeing the grid/maze pattern. This fixes that completely.

The 96MP 32-pass file also is able to provide some real detail improvement, but I've been doing commercial photography now for over 20 years, and honestly 24MP is plenty of resolution for just about everything in advertising.

What a time to be alive!


Left is single shot, Right is 4-pass Pixel-Shift


Left is single shot, Right is 4-pass Pixel-Shift

 

[Bob A L]

Guess I'm not picky enough? I have to strain to find a difference.

 

[kenw]

Guess I'm not picky enough? I have to strain to find a difference.

Uhhh... Tongue-in-cheek or undiagnosed color blindness? The color moire is blatantly obvious - even without clicking "original".

 

[Mr Bolton]

Guess I'm not picky enough? I have to strain to find a difference.

Uhhh... Tongue-in-cheek or undiagnosed color blindness? The color moire is blatantly obvious - even without clicking "original".

Cheek aside, the chroma noise is pretty apparent in the leftmost closeup. Once you see it, it's pretty obvious. I had to look for it too.

 

[kenw]

Guess I'm not picky enough? I have to strain to find a difference.

Uhhh... Tongue-in-cheek or undiagnosed color blindness? The color moire is blatantly obvious - even without clicking "original".

Cheek aside, the chroma noise is pretty apparent in the leftmost closeup. Once you see it, it's pretty obvious. I had to look for it too.

To be fair, there is probably some variation in how obvious it is for the inline images depending on the device people are viewing the forum on. Clicking on "original size" and it jumps of the screen. But even at a modest size it is pretty darn apparent, and pretty much glaring in the second example!

 

[sirhawkeye64]

After all these years, it's finally a relief to have Multishot in a Nikon! I still wish it could do it in-camera, but the workflow isn't terrible with NX.

Architecture shoot yesterday, Z6III Wi-Fi tether to Capture One, the curtains in this room were wreaking havoc for moire. 4-Pass straight to the computer, render out a .NEFX and bob's your uncle!

Instead of having to recolorize or test my luck with the moire reduction slider, I can just eliminate false color from the source and move on, saving me time and effort in retouching. And retouching can't fix geometric moire where you start seeing the grid/maze pattern. This fixes that completely.

The 96MP 32-pass file also is able to provide some real detail improvement, but I've been doing commercial photography now for over 20 years, and honestly 24MP is plenty of resolution for just about everything in advertising.

What a time to be alive!


Left is single shot, Right is 4-pass Pixel-Shift


Left is single shot, Right is 4-pass Pixel-Shift

I'd be curious to see how PS stacks up against using something like Gigapixel on a 24MP image (I guess I could technically try myself but wasn't sure if someone had already done this). I mean my little dabbling with upscaling in general (even just doubling the resolution with Gigapixel) looks promising, although there are some IQ hits in areas.

--
PLEASE NOTE: I usually unsubscribe from forums and comments after a period of time, so if I do not respond, that is likely the reason. Feel free to PM me if you have a questions or need clarification about a comment I made.

 

[DarkShift]

After all these years, it's finally a relief to have Multishot in a Nikon! I still wish it could do it in-camera, but the workflow isn't terrible with NX.

Architecture shoot yesterday, Z6III Wi-Fi tether to Capture One, the curtains in this room were wreaking havoc for moire. 4-Pass straight to the computer, render out a .NEFX and bob's your uncle!

Instead of having to recolorize or test my luck with the moire reduction slider, I can just eliminate false color from the source and move on, saving me time and effort in retouching. And retouching can't fix geometric moire where you start seeing the grid/maze pattern. This fixes that completely.

The 96MP 32-pass file also is able to provide some real detail improvement, but I've been doing commercial photography now for over 20 years, and honestly 24MP is plenty of resolution for just about everything in advertising.

What a time to be alive!


Left is single shot, Right is 4-pass Pixel-Shift


Left is single shot, Right is 4-pass Pixel-Shift

Nikon really should add Pixel Shift to all models that can technically have this feature.

 

[sirhawkeye64]

After all these years, it's finally a relief to have Multishot in a Nikon! I still wish it could do it in-camera, but the workflow isn't terrible with NX.

Architecture shoot yesterday, Z6III Wi-Fi tether to Capture One, the curtains in this room were wreaking havoc for moire. 4-Pass straight to the computer, render out a .NEFX and bob's your uncle!

Instead of having to recolorize or test my luck with the moire reduction slider, I can just eliminate false color from the source and move on, saving me time and effort in retouching. And retouching can't fix geometric moire where you start seeing the grid/maze pattern. This fixes that completely.

The 96MP 32-pass file also is able to provide some real detail improvement, but I've been doing commercial photography now for over 20 years, and honestly 24MP is plenty of resolution for just about everything in advertising.

What a time to be alive!


Left is single shot, Right is 4-pass Pixel-Shift


Left is single shot, Right is 4-pass Pixel-Shift

Nikon really should add Pixel Shift to all models that can technically have this feature.

I'm a little inclined to think that the IBIS mechanism in the Z8, Zf and Z6 III might be a bit different than that in the earlier Z cameras (maybe even the Z9) that allows them to have it but not others. But moving forward, I think they will be including it on all FF cameras in the mid-high tier range. The Z9 Mark II (whenever ever that is) may have it included as well as well as a Z7 III (if that happens). But I do think it's partially related to the hardwre design of the newer bodies made in the last year, versus the older ones that perhaps cannot be modified to allow PS.

--
PLEASE NOTE: I usually unsubscribe from forums and comments after a period of time, so if I do not respond, that is likely the reason. Feel free to PM me if you have a questions or need clarification about a comment I made.

 

[jthomas39]

200% zoom screen shots.

original with moire. The blue patches are the most obvious.



pixel shift! No demosaic moire effects. And better contrast and color saturation.

 

[jthomas39]

Pixel Shift from Thom Hogan's useful Z6 iii Guide

The Z6 III uses two different forms of pixel shift:

• 4 image full shift — Each photosite location collects red,
blue, and two green samples. (For 8 images, the full shift
process is repeated.)

• 16 image half shift — Each photosite location collects red,
blue, and two green samples, plus the whole process in
collecting that is repeated four times with half-pixel offsets.
(For 32 images, the entire process is repeated.)

In the 4-image (and 8-image) process, the benefit is primarily noise
reduction with a bit of better edge acuity (there should no longer be
any Bayer demosaic aliasing). The ultimate result will be a 24.5mp
NEFX file that has red, green, and blue data at every pixel.

For the 16-image (and 32-image) process, the primary benefit is a
much larger file with more detail (97.5 megapixels, or 12096 x
8064 pixels!), with the additional benefits of noise reduction and
acuity.

 

[Ken Seals]

The 96MP 32-pass file also is able to provide some real detail improvement, but I've been doing commercial photography now for over 20 years, and honestly 24MP is plenty of resolution for just about everything in advertising.

Aren't you contradicting yourself in this sentence/paragraph?


Regards,
Nikon Z 9, Z 8, 14mm-800mm + Z 1.4TC.
Computer Win 11 Pro, I7-8700K, 64GB, RTX3070TI. Travel machine: 2021 MacBook Pro M1 MAX 64GB. All Adobe apps.
FAA Remote Pilot Certificate, ATP ASMEL
Mizzou PJ '66 - Amateur Radio K6KT
www.kenseals.com

 

[Bruno Zarokian]

Similar experience there, it is very useful for fabrics but not only. I tend to use the 8 images mode for outdoor. This is also very useful for landscapes with very contrasted foliage or branches in the distance, creating a ton of color moiré. The Plena at f4 is the worst offender, that lens is too sharp.

 

[Terrible Photographer]

After all these years, it's finally a relief to have Multishot in a Nikon! I still wish it could do it in-camera, but the workflow isn't terrible with NX.

Architecture shoot yesterday, Z6III Wi-Fi tether to Capture One, the curtains in this room were wreaking havoc for moire. 4-Pass straight to the computer, render out a .NEFX and bob's your uncle!

Instead of having to recolorize or test my luck with the moire reduction slider, I can just eliminate false color from the source and move on, saving me time and effort in retouching. And retouching can't fix geometric moire where you start seeing the grid/maze pattern. This fixes that completely.

The 96MP 32-pass file also is able to provide some real detail improvement, but I've been doing commercial photography now for over 20 years, and honestly 24MP is plenty of resolution for just about everything in advertising.

What a time to be alive!


Left is single shot, Right is 4-pass Pixel-Shift


Left is single shot, Right is 4-pass Pixel-Shift

I'd be curious to see how PS stacks up against using something like Gigapixel on a 24MP image (I guess I could technically try myself but wasn't sure if someone had already done this). I mean my little dabbling with upscaling in general (even just doubling the resolution with Gigapixel) looks promising, although there are some IQ hits in areas.

Gigapixel doesn't really do great when it's not people or wildlife. It wouldn't fix the bad demosiacing or the color moire, it'd just make it.. bigger-ish.



I have Gigipixel 7, and this is what it did vs single shot and multishot (not great):

 

[Terrible Photographer]

The 96MP 32-pass file also is able to provide some real detail improvement, but I've been doing commercial photography now for over 20 years, and honestly 24MP is plenty of resolution for just about everything in advertising.

Aren't you contradicting yourself in this sentence/paragraph?

Regards,
Nikon Z 9, Z 8, 14mm-800mm + Z 1.4TC.
Computer Win 11 Pro, I7-8700K, 64GB, RTX3070TI. Travel machine: 2021 MacBook Pro M1 MAX 64GB. All Adobe apps.
FAA Remote Pilot Certificate, ATP ASMEL
Mizzou PJ '66 - Amateur Radio K6KT
www.kenseals.com

No. I said that 96MP is more than 24MP, but 24 is plenty for commercial ad work. In 2024, usage is almost entirely digital anyway, usually BTL, and most ATL printing is so garbage anyway, so the resolution increase will never be realized (low dpi packaging, billboard, digital billboard, low dpi trade banner, direct mail or magazine).

Cropping? maybe, but really that's not all that big of a deal, usually it's increasing canvas size after the fact more than anything.

What makes more of a difference than resolution, is bit depth. That's the real meat and potatoes. Smoother gradients, more flex in retouching, higher color accuracy if you're working in a scientific or archival environment.

Only people that really care about resolution are amateurs, landscape shooters, and wildlife folks trying to get pixels on target.

Commercially, resolution kinda stopped being a conversation when the 5DII came out. It just so happens that the professional bodies also usually have the higher resolutions.

 

[Suntan]

I will keep this in mind, as I have gotten the terribly strong "deep rows" of moire that Pshop can't fully eliminate before.

Although I would hazard to guess that pshop/lightroom would have been able to remove the occurrences you showed in your image without much trouble.

 

[sirhawkeye64]

After all these years, it's finally a relief to have Multishot in a Nikon! I still wish it could do it in-camera, but the workflow isn't terrible with NX.

Architecture shoot yesterday, Z6III Wi-Fi tether to Capture One, the curtains in this room were wreaking havoc for moire. 4-Pass straight to the computer, render out a .NEFX and bob's your uncle!

Instead of having to recolorize or test my luck with the moire reduction slider, I can just eliminate false color from the source and move on, saving me time and effort in retouching. And retouching can't fix geometric moire where you start seeing the grid/maze pattern. This fixes that completely.

The 96MP 32-pass file also is able to provide some real detail improvement, but I've been doing commercial photography now for over 20 years, and honestly 24MP is plenty of resolution for just about everything in advertising.

What a time to be alive!


Left is single shot, Right is 4-pass Pixel-Shift


Left is single shot, Right is 4-pass Pixel-Shift

I'd be curious to see how PS stacks up against using something like Gigapixel on a 24MP image (I guess I could technically try myself but wasn't sure if someone had already done this). I mean my little dabbling with upscaling in general (even just doubling the resolution with Gigapixel) looks promising, although there are some IQ hits in areas.

Gigapixel doesn't really do great when it's not people or wildlife. It wouldn't fix the bad demosiacing or the color moire, it'd just make it.. bigger-ish.

I have Gigipixel 7, and this is what it did vs single shot and multishot (not great):

OK and that's sort of what I came to when I tried to upscale an image from 10MP DX image (on a FF camera) and compare it to a native 24MP image. I guess both do have their place (Gigabpixel seems to be best for instances where you only have -- or can get -- one shot -- say with wildlife, whereas PS seems to be better overall, but mostly with static scenes with nothing moving).

--
PLEASE NOTE: I usually unsubscribe from forums and comments after a period of time, so if I do not respond, that is likely the reason. Feel free to PM me if you have a questions or need clarification about a comment I made.

 

[msu79gt82]

Thanks for posting this, it’s an educational illustration.