在我們手上的相機畫素才剛跨過1000萬畫素的時代，3000萬畫素對一般人來說依然是非常專業的領域，使用的都是我們不曾聽聞的牌子，價格也是有如天方夜譚般的令人咋舌。但在2012年的時候Nikon宣布了邁向專業級市場的野心，推出了D800系列，而且價格遠低於專業級市場。這個具有劃時代意義的產品一直到2015年才出現同級的競爭對手，Canon在今年2月宣布推出的5DSR，直接跳過3000萬畫素的門檻，直接站上5000萬畫素等級。而今年7月，Sony也發表了4000萬畫素等級的A7RII。它們每一台相機都是主打超高畫素與最優良的影像品質，是各家最高技術的結晶。於是有了這篇集評的誕生。

本次的文章，由於很少有機會一次寫到三台這麼高階的機種，而且網路上也還沒有太多這三台相機實際比較的文章，所以小編就決定寫了中英對照版，希望也能夠分享給國外的網友們看。

In an age where the typical camera resolution has just reached to be about 10 megapixels, a camera with 30 megapixels is considered to be used only by those in the professional field. In the past, we knew very little about these cameras, their brands were often unheard of and were also unimaginably expensive. It wasn’t until the year of 2012 that Nikon stepped into the market and released the D800 series, a camera that was both professional and more cost-effective. In February of 2015, this monumental camera finally met its opponent, the Canon 5DSR, a professional camera with a resolution that directly skyrocketed to 50 megapixels. In the same year of July, Sony issued A7RII, also with a high resolution of 40 megapixels. All three of these cameras are known for their excellent image quality and advanced technology, and so we are here to make a comparison. 

It is a rare opportunity to be able to write a review about three top quality cameras at the same time, and knowing the internet has little reviews covering the same topic, I have decided to write in both English and Chinese, hoping to be able to share my results with people outside of Taiwan.

◉ 相機簡介 CAMERA INTRO

Canon 5DS R

前陣子我們才剛介紹過的5DSR，5030萬畫素的設計是目前市面上最高畫素的數位單眼相機。Canon在今年二月推出的5DS系列其實有兩個版本，分別是5DS與5DSR，為了追求更高的畫質，5DSR加入了移除低通濾鏡的效果讓5030萬畫素能夠完整的呈現。在對焦系統上，5DSR也下放了1DX所採用的61點自動對焦與iTR追焦技術。同時為了減少反光鏡震動會造成的畫面模糊，5DS系列還導入了MVCS反光鏡震動控制系統；在選單內也加入了鎖上反光鏡的功能，一切的設計都是為了能讓超高畫質能夠完整發揮。

We have just talked about 5DSR in the middle of September. 50.3 megapixel design made it becomes the top resolution among DSLR. 5DSR is actually brother of 5DS, both of them have 50.3 megapixels, inherit the ultimate 61 point AF system from 1DX and iTR Af tracking system. To decrease the blurring made from reflex mirror, 5DS series adopted Mirror Vibration Control System and mirror lockup. Every function they put into this camera is to unleash 5DSR's best image quality.

Nikon D810

要說到超高畫素的始祖，那就不能不提到Nikon D800/D800E兩台相機。這是第一款突破三千萬畫素的全片幅數位單眼相機。而且Nikon除了把畫素提到前所未有的高以外，同時還加入了「移除低通濾鏡」的功能，讓3600萬畫素的畫質更清晰銳利，這兩項在當時2012年獨步全球的技術，也掀起了一股超高畫素與移除低通濾鏡的風潮。

目前有低通濾鏡的產品(除了Fujifilm與Sigma本來就因為感光元件排列不需要低通濾鏡的相機以外)，共有24台，其中有15項產品都是出自於Nikon之手，其他還有Pentax、Sony，甚至是Canon都加入了移除低通濾鏡的行列。Nikon算是帶起了這一股風潮。

這是本次集評中最老的一台機子，D810發表於2014年6月，在當時，它仍繼承著D800/D800E的3635萬畫素強大優勢，穩畫素王者的寶座。加上消除低通濾鏡成功地提高畫質，在當時，這就是你最接近中片幅專業數位相機的唯一選擇，而且還有繼承自D4S系列的Advanced Multi-CAM 3500FX對焦系統，以及單顆電池可拍1200張相片的超強續航力，D810的等級就是定位在專業的機種。


Sony A7RII

DXO Mark在他們網站說道：「A7RII擁有我們所見過最好的感光元件」，僅以1分之差擊敗D810。A7RII雖然不是三款相機中畫素最高的相機，但4240萬畫素也足夠有問鼎專業市場的資格了。A7RII有別於其他兩家老相機廠的傳統做法，在功能的運用上就新穎很多，例如另外兩台都沒有的機身防手震，可以達到4.5級的手震補償效果；還有超過FullHD 4倍解析度的4K錄影功能，以及取消低通濾鏡，拒絕讓Canon與Nikon專美於前。

而且你知道嗎？Sony在10/19的時候發表了V2.00版的韌體，支援無壓縮的14 bit格式，而且長時間曝光的雜訊會更低，這是A7RII的重大更新。而10月19日剛好就是我把所有照片拍完還給廠商的日子，這個新版韌體的消息讓我差點當場心臟病發作，因為這代表我的照片必需要重拍、比較圖要重做...所以這篇大概也是目前網路上唯一一篇有2.0版本韌體的A7RII比較文了。

DXO Mark has written on their website that "the Sony A7RII has the most impressive sensor performance that we’ve seen to date", beat by the D810 by just a tad. Though it is not the highest resolution of the three, its 42.4M pixels is certainly good enough to enter the professional market. With the new features like 4.5 stop Steady Shot in camera, 4K resolution video, and ISO102,400, Sony takes a different approach to compete with its rivals, refusing to let Canon and Nikon take first place in this ultra-high resolution war.

And you know what? On October 19, 2015, Sony issued a V2.00 firmware which can unlock the 14 bit uncompressed RAW and lower the noise during long exposure. This firmware will make the A7RII reach its full potential. BUT this release date was also the same day I had finished all my preparation for writing this article. Having just returned the A7RII back to Sony that day, hearing this news almost gave me a heart attack because it meant I had to do everything ALL over again (take pictures, remake comparison graphs, etc). Thanks alot Sony (OMG). On the bright side, it also means that this review is probably the first and only comparison that discusses A7RII with its V2.00 firmware, so enjoy! 

◉ 規格比較 SPECIFICATION COMPARISON

	Canon 5DSR	Nikon D810	Sony A7RII
發表時間 Release Time	2015/02	2014/01	2015/07
感光元件種類 Sensor Type	CMOS	CMOS	BSI CMOS
感光元件尺寸 Sensor Size	24 x 36mm	24 x 35.9mm	24 x 35.9mm
低通濾鏡 Low Pass Filter	No	No	No
有效像素數 Effective Pixels	5060萬 50.60M	3630萬 36.30M	4220萬 42.20M
解析度 Resolution	8736 x 5856	7380 x 4928	8000 x 5320
RAW檔色彩深度 Bit per Pixel	14bit	14bit	14bit
無壓縮RAW檔 Uncompressed RAW	NO	Yes	Yes
影像處理器 Image Processor	Dual Digic6	EXPEED4	BIONZ X
觀景窗種類 Viewfinder Type	光學式 Optical	光學式 Optical	電子式 Electronic
觀景窗覆蓋率 Viewfinder Coverage	100%	100%	100%
觀景窗放大率 Viewfinder Magnification	0.71x	0.7x	0.78x
儲存媒體 Storage Media	CF x 1 SD x 1	CF x 1  SD x 1	MS/SD x 1
連拍速度 Frame Rate	5fps	5fps	5fps
實體快門速度 Shutter Speed Range	30s - 1/8000s	30s - 1/8000s	30s - 1/8000s
電子快門速度 E-Shutter Range	None	30s - 1/2000s	30s-1/8000s
電子前簾快門 E-Shutter	None	Yes	Yes
快門時滯 Shutter Lag	0.059	0.052	Unknown
曝光補償級數 Exposure Compensation	+/- 5EV	+/- 5EV	+/- 5EV
手震補償級數 In-Camera Vibration Reduction	None	None	4.5 Stop
原生感光度範圍 ISO Latitude	100-6400	64-12800	100-25600
延伸感光度範圍 Extend ISO Latitude	50-12800	32-51200	50-102400
對焦系統 Autofocus System	相位 / 對比式 Phase / Contrast	相位 / 對比式 Phase / Contrast	相位 + 對比式 Phase + Contrast
對焦感應範圍 AF Working Range	-2 ~ +18EV	-2 ~ +19EV	-2 ~ +20EV
相位對焦點數 Phase AF Point	61	51	399
對比對焦點數 Contrast AF Point	0	0	25
內建閃燈 Built In Flash	None	Yes	None
閃燈同步速度 Sync Speed	1/200	1/320s	1/250
影片檔案類型 Video File Output	MOV	MOV	XAVCS / AVCHD / MP4
視訊編解碼器 Video Codec	H.264	H.264 / MPEG-4	H.264 / AVCHD / MPEG-4
影片最大解析度 Maximum Format Video	Full HD 1920 x 1080, 30fps	Full HD 1920 x 1080, 60fps	4K 3840 x 2160, 30fps
螢幕尺寸 Moniter Size	3.2"	3.2"	3.0"
螢幕解析度 Moniter Pixel	1,040K dot	1,229K dot	1,228K dot
螢幕觸控 Touch Screen	None	None	None
螢幕翻轉角度 Tillable Screen	None	None	107° Upward 41° Downward
內建Wifi Built In Wifi	None	None	YES
電池續航力 Battery Life	700	1200 Shot	340 Shot
USB版本 USB Type	3.0	3.0	2.0
重量(不含電池記憶卡) Weight (Body Only)	845g	880g	582g

好吧，既然我們相機都已經找到最強的三台了，但相機沒有鏡頭不能拍照，必須要找一管可以發揮各家相機完全型態的鏡頭才行。可是每台相機廠都會有各種不同的鏡頭，不同廠牌雖然有相同的焦段與光圈，雖然他們都宣稱每顆鏡頭都會有最佳銳利度的表現，但實拍出來一定完全不同，我該要如何把鏡頭統一，而且我到底該選哪顆鏡頭來做比較呢？

All right. I think we've found three of the best cameras ever, but it’s impossible to shoot without a lens. So it is crucial to choose a fair, top quality lens to make every camera reach their top performance and not be affected by the lens' defect. But every camera company makes their lenses, and these lenses are customized for their own cameras. Every lens product claims that their lens offers the best sharpness, but we all know that each lens has a different quality. So how should I choose?


Zeiss Otus Distagon 1.4/55

很簡單，我們找一間專做鏡頭給其他相機廠牌的公司就好了。沒錯，我們找來的對照組是目前最強的Zeiss Otus 1.4/55，這顆鏡頭的價格比這三台相機都還要高，而且它也是公認畫質最好的鏡頭，DXO Mark指出它分數是45分，而Canon 50mm f/1.2L與Nikon 58mm f/1.4這兩顆畫質公認不錯的鏡頭，也分別只有26分與24分，加上小編也有實際體驗過它的魔力，在光圈全開f/1.4的情況下，畫面中央與f/7.1縮光圈的表現完全相同，是一款表現力非常可怕的鏡頭。Otus的確是真強者，所以我們用它來展示這三款超高畫素的相機應該是最好的選擇。而Otus有兩個接環，分別是ZE(Canon EF)與ZF.2(Nikon F)兩種，而A7RII我就使用A轉EF的Metabones接環。

其中有一點非常重要，如果你的Metabones還沒有更新到最新版的V1.82韌體前，你是無法接Otus拍照的，A7RII不會儲存照片，小編為此浪費了不少測試的時間，研究了之後才發現不是機身問題，居然是轉接環導致，還請各位多加留意。


It's easy. We just need to find a company that produces lenses for other cameras. That’s right, we chose the Zeiss Otus 1.4/55 APO Distagon. The price of this lense itself is even higher than any of the three cameras in this review, and it’s acknowledged to be the best lens in the world today. I wrote a review about this lens before. Its sharpness in aperture wide open is the same as aperture in f/7.1, which is phenomenal. I've never seen any lens like that. I believe the topnotch Zeiss Otus 1.4/55 is the best choice to bring out the performance of 5DSR, D810 and A7RII. Otus has two types of mount: ZE(Canon EF mount) and ZF.2(Nikon F mount). I used Metabones A mount to EF mount adapter for A7RII. 

Oh, there's one other thing I need to tell you. If you want to use A7RII + Metabones + Zeiss Otus you will have to update Metabones firmware to the latest version, or the camera won't take any pictures after you release the shutter. If you have encountered this problem, please check your firmware of Metabones' version. 

◉ 設定方式 SETTINGS

本次集評的目的，是為發揮各家相機之完全型態，所以在畫質的比較上，我會使用最大尺寸RAW+JPEG檔、相同的光圈、相同色溫K值的白平衡，並且將所有的亮度補正、陰影補正、色差、像差功能全數關閉，然而在感光度上，由於這次是要做比較，所以我會把各家相機的感光度設定在同一個標準上，在絕大多數的情況下，我會使用ISO100來比較各台相機的表現，只有在比較各級感光度的時候才會使用不同的ISO。而雖然ISO100是5DSR與A7RII的最低原生感光度，D810的最低原生感光度卻是ISO64，但我還是會以ISO100來做為比較的標準。而色彩的選擇，在人像的部分就是使用內建的肖像色彩設定，其餘的全部都是標準。這是要先向各位說明的地方。
喔還有，Steady Shot功能在我上腳架的時候一定會關閉。

The purpose of this comparison is to unleash every camera's performance. To make all comparison standards the same, I will shoot using the largest RAW + JPEG files with the same aperture, same white balance, and turn off the Light Optimizer / Active D-Lighting / Dynamic Range Optimizer , Vignette Control, Distortion Control and so on. Trying look into the utmost original camera's performance. The Picture Control / Picture Style / Creative Style set to [Portrait] when I shoot portrait, others: [Standard].

In terms of ISO comparison, I chose ISO100 as the base sensitivity. Although the Nikon D810 has the lowest native ISO64(the other two are ISO100), I still chose ISO100 mainly for standardization. 

By the way, Steady Shot will always turn off whenever I use a tripod. 


■人像 PORTRAIT
測試從人像開始，在這裡我們提供各位四組照片，讓大家看看三台相機在人像膚色、色調，以及亮度差異上的表現。如果你有興趣的話，可以點開文章中的每一張圖片，那會產生原始的大圖檔案，讓可以讓你盡情檢視拍攝畫面中的所有細節，但請注意，每一張照片的檔案都非常大，全部點開可能會花各位不少時間喔。

◉ Part 1 人像-第一組 PORTRAIT-I

Canon 5DSR + Zeiss Otus 1.4/55 ISO100 f/4 1/125s 5000K 


Nikon D810 + Zeiss Otus 1.4/55 ISO100 f/4 1/125s 5000K 


Sony A7RII + Metabones EF Mount + Zeiss Otus 1.4/55 ISO100 f/4 1/125s 5000K 

第一件，也是最重要的一件需要告訴各位。Nikon D810在與另外兩台相機用完全相同的曝光數值拍攝的條件下，畫面的亮度會亮約0.7EV，這並不是我這台D810出了狀況，在過去小編寫【中階DSLR終極之戰】Canon 70D VS Nikon D7100的時候就已經發現了，只是這次Canon與Sony的亮度相近，但到底是Nikon亮0.7EV，或者可以說是Canon與Sony暗了0.7EV，沒人說得準。但令人玩味的一點是，這0.7EV的差距，剛好足夠讓Nikon從ISO100降到它的最低原生ISO，也就是ISO64。意思就是說，如果D810使用ISO64的話，可以跟5DSR與A7RII使用完全相同的光圈與快門，拍攝出來的亮度將會非常接近。

另外一點也非常重要的是，你可以從接下來的每一組照片看到Canon會有很明顯的色彩偏向。5DSR在每一組照片中都會是偏紅色的，即便我已經把所有的設定直條到完全相同，就連白平衡與偏移、色調都調整成人像或者是標準模式，拍出來的照片還是會有基本上的顏色差異，這就是各家調色的不同。你可以從模特兒的頭髮看出來，5DSR拍出來的頭髮是褐色偏紅，但A7RII則是漂亮的褐色，比較接近肉眼所見，而D810則是因為太亮無法比較，但至少不會有那麼明顯的偏紅。然而，偏紅並不是不好，我相信有許多人非常喜歡這種顏色，因為那會讓被攝者的膚質看起來相當粉嫩，在亞洲這種膚色是比較能為女孩們所接受的。

First, and most importantly, the D810 will be brighter than the other two by about 0.7EV when we use the Zeiss Otus lens. I don’t think this problem is caused by the D810 itself, because I've found this when I wrote Canon 70D VS Nikon D7100. But this time, 5DSR and A7RII have the same brightness under the same ISO, shutter & aperture. What I’m not sure though, is that is it Nikon is brighter by 0.7EV? Or is it that Canon and Sony are darker by 0.7EV? We’ll never be certain for sure. But what’s interesting is, this 0.7EV difference is enough to decrease Nikon’s ISO100 to its lowest original ISO, which is ISO64. Which, in turn means, that if you set Nikon at ISO64 and set the other two at ISO100, you'll get similar brightness under the same exposure setting (when using the Zeiss Otus). 

You can also tell that the pictures taken by Canon are always reddish in color throughout this entire article. Even though I’ve set every white balance to the same K level and it stays 0 in every color balance, the picture of the 5DSR still tends to be redder in comparison. This is the basic tone of Canon(as you can tell from their logo). We can see that the model’s hair in the picture taken by the 5DSR is reddish-brown, while the model’s hair in the picture taken by the A7RII is a beautiful bright brown. Not to say red is bad, though, I'm sure alot of people love this color, because it adds life and energy to skin tone, which is very acceptable in Asian culture. 

◉ Part 2 人像-第二組 PORTRAIT-II

Canon 5DSR + Zeiss Otus 1.4/55 ISO100 f/4 1/100s 5000K 


Nikon D810 + Zeiss Otus 1.4/55 ISO100 f/4 1/100s 5260K 


Sony A7RII + Metabones EF Mount + Zeiss Otus 1.4/55 ISO100 f/4 1/100s 5000K 


在這組相片中在畫面的左方使用了一盞Profoto B1，並且加上一把大傘，來讓光線完整的包覆在模特兒身上，然後左邊還有一支Profoto B2，對著牆面打跳燈，反射到模特兒的左邊。

◉ Part 3 人像-第三組 PORTRAIT-III

Canon 5DSR + 24-70mm f/4L ISO160 24mm f/5.6 1/160s 6000K


Nikon D810 + 24-70mm f/2.8E VR 24mm ISO100 f/5.6 1/100s 6000K


Sony A7RII + LA-EA4 + SAL2470Z2 24mm ISO100 f/5.6 1/100s 6000K

抱歉，我Canon的感光度設定錯了，應該是要ISO100我卻設定成ISO160，但快門速度也意外的設定成1/160s了，所以在亮度上來說是跟ISO100 1/100s完全一樣的。但因為三台相機所使用的閃燈(Profoto B1)出力完全相同，閃光燈的亮度不會受到快門速度影響，畫面的亮度只會被感光度與光圈改變，所以Canon的相片依然會比另外兩台來的亮0.7EV。

白平衡完全是固定的，所以你也可以從這裡看到Canon的色彩偏向紅色，即便它在洋紅與綠色之間的設定是0，但跟另外兩台相機相比一樣是偏紅色。同時你也可以看到，純白色的Profoto B1打出來的光線，在同樣是設定為6000K的條件下，Nikon在畫面右側牆上的光線是偏黃色，而Sony的則還比較偏向白色。

I'll have to apologize for a mistake I made: I set the ISO sensitivity wrong for 5DSR. I set it at ISO 160 when it should have been at ISO100. But, I also set shutter speed to 1/160s, so in terms of brightness it is the same as ISO 100 1/100s. But since all three cameras use the same flash system (Profoto B1), the brightness of the flash is not effected by shutter speed, and the brightness of the picture is only effected by light and aperture, so Canon's pictures will also be brighter than the other two by 0.7EV. 

So you'll find that the light on the model and wall at the right are brighter than D810 and A7RII, but brightness of other places stay the same. 

◉ Part 4 人像-第四組 PORTRAIT-IV

Canon 5DSR + Zeiss Otus 1.4/55 ISO100 f/2.8 1/125s 5000K


Nikon D810 + Zeiss Otus 1.4/55 ISO100 f/2.8 1/125s 5000K


Sony A7RII + Metabones EF Mount + Zeiss Otus 1.4/55 ISO100 f/2.8 1/125s 5000K

在這組相片中，各位可以比較看看模特兒的膚色，依然是Canon偏紅，Nikon偏黃，並且有一點粉粉的感覺，Sony則是維持較中庸的膚色。

In this group of pictures, you can see that Canon appears redder, Nikon appears more yellow, while Sony remains a moderate color.



■對焦與操作 FOCUS AND CONTROL

◉ Part 5 暗部對焦速度 FOCUSING IN DIM LIGHT

這是現場的實際亮度，我用一支Profoto B1在右邊開了一盞出力20%的模擬燈，為了讓畫面中的對比度更低、對焦更困難一些，我把B1朝著玻璃反射，以增加對焦的難度，這樣我們就能看出鑑別度，在這種艱困的環境下依然能夠對焦的是哪台相機。而且，我故意把對焦輔助燈關掉，藉此才能夠看出對焦系統原始的表現。

順帶一提，我對焦的方式是不斷地半按快門，聽到合焦指示音就馬上按下一次快門鍵，如果沒對到焦也是立即跳過換下一次，所以你可以從合焦聲音的頻率來判斷何者有較好的表現。

鏡頭的部分，由於Otus是手動對焦，所以我使用統一使用它們自家的35mm f/1.4，原因有二：
1. 這是自動對焦鏡頭，而且三者的對焦速度都不錯。
2. f/1.4可以盡可能的獲取最大亮度來對焦

This is the actual brightness at the photo setting. I used a Profoto B1 to set up a model lamp at 20%. To make it harder to focus, I turned the Profoto B1 towards the glass, and used only its reflection to light up the subject, trying to lower the contrast so that we can see which camera can still focus correctly under harsh conditions. 

By the way, I focused by continuously semi-presssing the shutter button and pressed the button again right after I heard the focus beep from camera. If focus failed, I skipped and tried once more so I can determine which camera has better performance by the frequency of beeping.

As for the lense, since Otus uses manual focusing, I used their 35mm f/1.4 for two reasons: . 
1. These are autofocus lenses, and the focus speed is good.
2. An aperture of f/1.4 can recieve maximum light for focusing


Canon 5DSR + 35mm f/1.4L


Nikon D810 + 35mm f/1.4G


以上是DSLR數位單眼的對焦方式，使用觀景窗+相位對焦點對焦。雖然觀景窗中的五稜鏡透光度很高，但依然會讓畫面中的亮度降低，使得原本已經很暗的畫面更難尋找到主體(再透過iPhone6的相機錄製影片，就變得幾乎看不見了。)兩台相機在這種情況下，只有在最亮的地方有辦法對焦，亦即兩位樂手的側臉受光的地方，而且對焦成功率不高，偶爾會迷焦；如果是在亮處以外的地方，合焦成功率會極低，我想這樣的亮度已經超越5DSR與D810的-2EV極限。

Canon and Nikon both use the "traditional" DSLR way to focus, which means using an optical viewfinder and phase detecting point. Although the pentaprism inside the optical viewfinder has a good transmittance, it still diminishes the brightness of the picture, causing the already dark object even harder to see (and with an iPhone6 it almost completely cannot be seen). Canon and Nikon can only focus in the brightest area, located on the sides of the faces of the two musicians, but it was still a difficult task to focus. If we move the focus point to a darker area, focusing becomes even more difficult. I think the luminance in this scene is more than what the Canon and Nikon's focusing system can handle.


Sony A7RII + 35mm f/1.4ZA


注意！從A7RII的觀景窗看出去的，並不是真正的亮度，這是透過相機內的處理器強化過後所得到的亮度。現場實際的亮度比這則影片暗很多。

很強對吧？無論在亮或者是暗的地方，A7RII都能夠輕鬆的應付，遠遠的超過Canon與Nikon的表現。原先在5DSR與D810觀景窗中的暗處，在A7RII中所有的細節都跑了出來。而在這種陰暗處依然能夠對焦的功臣，我想最大要歸功於A7RII那399個相位對焦點，以及25點對比式對焦點，在全時都是Live View情況下的A7RII，可以在任何情況下發揮這424個對焦點的功能。

Attention! The brightness from the electronic viewfinder is not the real brightness. This is the brightness that is processed by A7RII, but in reality, it is much much darker. 

Isn’t that amazing? A7RII can easily focus no matter if it's bright or dark, a feature that wins both the Canon and Nikon. It's a piece of cake for Sony to focus in such low light. All the details in the dark show up in A7RII's viewfinder and make it very easy to focus. You can even focus in the extremely dark areas such as he musician's pants. I think this feature should be attributed to A7RII's 399 phase detection + 25 contrast detection points. These 424 focus points can work simultaneously under Live View mode which A7RII can always turn on. But phase and contrast detection point could only work separately under normal or Live View mode in 5DSR and D810.

◉ Part 6 追焦速度 AF TRACKING ACCURACY

雖然這三台相機是以畫質為第一考量，但他們依然使用了各家之中非常好的對焦系統，所以小編就在此做個追焦的比較。

我請汽車板的編輯以時速100公里的速度開車，駕駛的地點是稍微有彎道的台北外雙溪路上，並且是在確定雙向都無車的狀態下進行的。測試時使用快門先決模式，固定為1/2000秒以凝結車子的速度。拍攝時三台的相機都設定為連拍模式，三台的連拍速度都是5fps，對焦模式為AF-C。

對焦點數的選擇設定都是多點對焦，Canon 5DSR為自動對焦點擴展(中間一點，旁邊四點為輔助對焦)、Nikon D810為動態區域AF-9點(中間一點為主，四周八點為輔)、Sony A7RII則是擴充彈性定點(Expand Flexible Spot，中間一點為主，四周八點為輔)。會選擇這種對焦模式的原因，是因為這是汽車板編輯使用Canon與Nikon相機拍車的經驗，而Sony的設定則是Sony講師的建議，就經驗來說，點數越少對焦速度越快，因為相機要計算的資訊更少，因此更能夠快速的反應在對焦速度上，理論上來說單點的速度一定最快，但單一個點的範圍太小，很容易對焦對到其他地方去，所以我會選擇以一點為主、四周數個點為輔的擴充點對焦，算是一個對焦速度與人類失誤之間的平衡點。並且全部都設定為快門釋放優先。

使用的器材，Canon使用70-200mm f/2.8 L II IS(小白II)、Nikon使用70-200mm f/2.8G VR(小黑六)、Sony則是70-200mm f/4G OSS，三顆鏡頭都是相同焦段的望遠鏡頭，對焦速度與畫質都是各家廠商在同焦段下最好的。

我們來看看實際拍攝的狀況如何，請注意，這三則影片中所拍的照片並不是等一下各位會看到的、用來檢視對焦的相片，這是因為這三則影片中我是使用iPhone對著觀景窗錄影，這樣的姿勢是徹徹底底不正確，所以對焦的成果一定有問題。這三則影片的目的是要讓各位看看實際的拍攝狀況，看看觀景窗大小、快門音、連拍速度、對焦反應速度，還有觀景窗內的資訊與螢幕黑掉的時間等等：

Although these three cameras are designed for people who really care about image quality, Canon, Nikon and Sony still integrate a good AF system into their cameras.

I asked my colleague, who's in charge of writing car reviews, to drive at the speed of 100km/h (62miles/h). We choose a slightly curved road in a suburban area of Taipei and made sure there were no vehicles on the road. During testing we used shutter priority and 1/2000s to freeze the speed of the car, and set to 5fps burst mode and AF-C on all cameras. Each camera used a normal setting for AF tracking.

My colleague suggested I use multi point AF when tracking vehicles. With 5DSR I chose [Expand AF Area (5 point)], with Nikon I chose [Dynamic AF 9 point], and with Sony I chose [Expand Flexible Spot]. The more points you use to focus, the more data a camera needs to calculate, which makes it slower to focus. So we used less AF points to make the camera have more resources to process the focus data. When using only one AF point, the photographer may not be able to put the focus point right in the exact place. Using an expanded AF point is the balance between lifting up focus speed and decreasing human mistake.

The gear I used:
Canon 5DSR + 70-200mm f/2.8 L II IS
Nikon D810 + 70-200mm f/2.8G VR
Sony A7RII + 70-200mm f/4G OSS

These lenses own the best image quality and focusing speed under the same focal length. I think they are the best lenses for testing AF tracking.


Let's take a look at the situation in the viewfinder first. Note that the pictures I took in the video below are not the pictures we are using to compare. The videos below are just let you to see the situation when I execute the AF tracking part. These three videos are mainly for you to compare the size and information of the viewfinder, shutter sound, burst speed, focus reaction and the time of black screen. 

Canon 5DSR 


Nikon D810


Sony A7RII


實際的拍攝狀況，是我請同事使用相同的速度來來回回開五次，是一台相機要開五次喔！總共我們的車版編輯要開15次，測完整個人都開始討厭開車了。然後我從這五次中選一次最好的，然後在裡面挑10張照片，這10張照片中的車子要在相似的起點開始、相似的終點結束，這樣比較才能夠較為接近公平，也比較能逼近每一台相機的最佳表現。我們來看看實際的拍攝成果：

I asked my colleague to drive back and forth for 5 times. 5 times for each camera, which meant 15 times in total! (He hated driving after that) I chose the best one from 5 groups, and then chose 10 consecutive pictures from it. The focus distances have to be similar between three cameras so that we can compare under the same standards. Let's see the results:


請務必點開大圖，完整的銳利度無法在此表現。

Please click to open the original file, the full sharpness cannot be shown on this page.

比較需要注意的是，5DSR是在不同時間拍的，大約與另外兩台相隔兩個小時，會這樣做的原因是因為我的5DSR在一開始設定成單點自動對焦，而我過兩個小時才發現這個錯誤，在大約下午三點半的時候改成自動對焦點擴展模式。各位應該能夠從畫面中的影子看得出來拍攝時間有差異，但拍攝地點是完全相同的。至於亮度的部分我想應該不用擔心，D810與A7RII都是在正中午拍的，強光對於相機的測光系統來說過亮，所以相片拍起來比較暗，而5DSR的拍攝時間是斜射光，光線比較沒有那麼強，所以拍攝起來曝光比較正常。

如果以非常高的標準來看，D810大約可以做到8/10準焦，5DSR則是與D810非常接近，但銳利度都只有差一點點，真的只有一點點就與D810的銳利度相等了，不仔細看的話其實是可以被視為準焦的。至於Sony的話就比較抱歉一點了，真的銳利的大約只有4張，而部分照片則是追不上，我想這可能部分原因要歸咎於Sony使用了f/4的鏡頭來參戰，或許未來他們推出了f/2.8的鏡頭就能夠看出A7RII的完全型態了。

What we need to take note of is that the picture of the 5DSR was taken at a different time, about 2 hours after Nikon and Sony. I had made a stupid mistake in setting the Canon at one point AF. It was not until 2 hours later that I realized my mistake so we had to drive back and redo it all again. You can see that the shadow in 5DSR are not the same as Nikon and Sony. 

If we view this from high standards, we can see that Nikon can still focus 8 out of 10 frames. 5DSR was very close to D810, but just a little out of focus in some parts of the picture. Just a little. The 5DSR can be seen in focus if it has fewer pixels. A7RII, though, only has about 4 frames in focus, and some of others were still trying to "catch up". The reason why A7RII couldn't focus like the other two might be the lens I used. Sony has not released any E-mount 70-200mm f/2.8 lens. So the result might be similar to Canon & Nikon if there ever is a f/2.8 lens coming out in the future, and until then we probably won't be able to see the full AF tracking performance of Sony A7RII.

◉ Part 7 連拍速度、快門聲音、儲存速度 COUNTINOUSLY SHOOTING, SHUTTER SOUND, DATA WRITING TIME

這個部分並沒有高低之分，我想讓各位看看三台相機在拍攝時以及拍攝結束後儲存時間的表現。我使用的記憶卡是Sandisk 32GB 95MB/s UHS-1 U3，每一次拍完照片都會格式化，以確保不會有任何檔案影響儲存的時間。

Part 7 represents the writing performance while the camera is being used on taking pictures and right after the shooting stopped for each camera. The Sandisk 32GB 95MB/s UHS-I U3 SD card was leveraged for the test, and 
the card is (was) formatted every time before the test started to keep the variance the same.


Canon 5DSR

5DSR在完整的5fps的情況下可連拍14張，而畫面中拍攝共17張，儲存時間約為12秒，1張儲存1.3秒。

5DSR continuously took 14 frames at the same speed. In this video, 5DSR took 17 pictures in total and 12 second in data writing. 1.3 second in average data writing time. 

Nikon D810

D810在5fps的條件下可連拍21張，畫面中共拍21張，儲存時間為22秒，一張儲存1.9秒。

20 frames shoot consecutively in 5fps by D810. Took 23 sec in data writing, 1.9 frames per sec in average.

Sony A7RII


A7RII可不掉速連續拍10張，畫面中拍10張，儲存時間為23秒，1張儲存1秒。這是無壓縮RAW檔的成果。如果你的版本是V1.5的有壓縮RAW檔，那麼數值會變成不掉速連拍23張，畫面中拍24張，儲存時間28秒，1張平均儲存0.96秒。

Sony A7RII can continuously take 10 pictures with the same speed. The whole process time is 23 seconds beginning from the shooting through those 10 frames stored into SD card. In average, it takes 0.96 second to save a file with uncompressed RAW format to the SD card.


這三台相機是在完全相同的位置上拍的，所以你也可以藉此比較一下它們的大小，A7RII的體積很明顯的小很多，所以在攜帶上真的會輕鬆很多。

Videos of three cameras were taken in the exact same place so you can compare their sizes in these footages. The A7RII is evidently much smaller than the other two, and it's much more convenient for the photographer to carry around than 5DSR or D810.

對於快門聲的感想，大家青菜蘿蔔各有所好，小編就不在此評論，但你應該聽聽它們的差異，因為A7RII的快門聲與傳統的DSLR真的很不一樣。還有，這三則影片是使用同一台攝影機、同一支指向性麥克風，在同樣的位置與錄音條件下拍攝的，你可以注意到D810的快門聲很大，但同樣身為DSLR的5DSR快門聲卻小很多，甚至跟無反光鏡的A7RII差不多，我想這是來自於5DS系列的反光鏡都重新設計過，反光鏡有凸輪控制速度，在減少震動的同時音量也下降了。

I won't judge the shutter sound because everyone has their own opinions about that, but you should listen to their differences, since the A7RII has an exceptionally different shutter sound from the original DSLR. These three videos were taken by same camera and at the same place. You can tell that the volume of the D810 shutter sound is louder than others. And as a DSLR, 5DSR has a lower volume since it has improved the shutter and reflex mirror system by integrating an up/down cam to control the reflex mirror that reduces the vibration and volume simultaneously.



■畫質 IMAGE QUALITY

在畫質的比較上面，每一項都有使用腳架，我使用的是碳纖維大型腳架，加上可乘載5公斤的Novoflex CB2雲台，並且使用同一個型號的快拆板，每台相機都有一片獨立的快拆板，這樣我做起事來才快，不需要換一台相機就拆一次板子。也可以確保每次拍攝都是完全一樣的。拍攝時使用倒數計時快門，通常設定為10秒左右。如果腳架架的特別高，我會拉到20秒，徹底杜絕震動的產生。

在快門的震動抑制上，由於三台相機都是超高畫素的設計，所以在機身上就會有抑制機身震動的設定。但各台機器各有不同。Canon 5DSR我設定為「按下後2秒拍攝」、Nikon設定為「曝光延遲模式：3秒」、Sony則設定為「電子式前簾快門」。Nikon D810雖然有電子前簾快門，但它只有在反光鏡鎖上的模式(無法使用倒數計時)下才能進行，意思就是說只有在使用快門線，或者手按快門的條件下才能開啟電子前簾快門。而我沒有電子快門線，而我也不相信用手按快門的方式可以減少震動，所以退而求其次，選擇「曝光延遲模式」。而A7RII使用「電子前簾快門」而不是「靜音拍攝」的原因是，我看到DPReview說A7RII在開啟靜音快門後拍攝的RAW檔會從14bit降成12bit，雖然減少震動重要，但在與畫質牴觸的前提之下，減少震動可以透過多拍攝幾張照片來解決。

對焦的方式上，完全是使用Live View對焦，因為5DSR與D810相對於Live View精確地放大來對焦的話，使用觀景窗的合焦指示燈的Range實在是太大了，使用Live View放大畫面來對焦的準確度可以遠遠地超過觀景窗，而且A7RII有峰值對焦可以使用，非常方便。

In every scene I used a big size carbon fiber tripod added with a Novoflex CB2 cradle head. Every camera was loaded with the same quick shoe model, and each camera had its own individual quick shoe, which made my job easier without having to change it from time to time. When using the timer the time was set at 10 seconds. If the tripod was very high I would extend the time to 20 seconds to avoid any vibrations.

Since these cameras are designed for ultra-high resolution, they all have settings that can inhibit vibrations, but these settings vary between different cameras. With the Canon I used the [Shoot after 2 sec] setting, the Nikon D810 I used the [Shutter Delay Mode: 3sec], and with the Sony A7RII I used [e-Front Curtain Shut]. Although Nikon D810 has an electronic first curtain mode, but it can only be used under Mirror-Up mode, which cannot be used with Countdown Timer function at the same time. It means that there is no way to release the shutter without using the shutter cable or my finger. Under the circumstances of not believing my finger and not having a cable release, I chose [Shutter Delay Mode: 3sec].

The reason why I used [e-Front Curtain Shut] instead of [Silent Shooting] is that [Silent Shooting] would downgrade the RAW files from 14 bit to 12 bit. Although reducing shutter vibration is important, image quality is still more crucial. 

I used Live View to focus instead of focusing by looking at the focus index light inside the optical viewfinder. It is much more precise to focus by magnifying the image when using Live View. A7RII even has the peaking to assist you to focus more easily.

這個地方我拍了五個題材的相片，分別是建築、人像與食物三種。但做解析度比較最困難的地方在於，這三台相機的畫素都不一樣，所以根本無法放在一個公平的基準點上做比較，原圖1:1放出來，5DSR的畫面一定會是最大，A7RII次之，D810最小，那是因為畫素的數量所決定的結果。如果你硬是要把D810跟A7RII上的物體放到跟5DSR一樣大來看，那麼Nikon與Sony的表現一定很差；若是把5DSR與A7RII縮到與D810上的物體一樣小，那三者可能根本就看不出來差別，而且縮小之後還有可能會有軟體影響的問題。所以不管怎麼調整都不會公平，所以我決定：不調整，直接維持原樣，在相同的設定值下(有些會使用不同的設定值我將另外說明)拍攝同一個畫面，讓大家比較解析度的表現。我們開始吧！

◉ Part 8 銳利度-1 SHARPNESS-I

Canon 5DSR + Zeiss Otus 1.4/55 ISO100 f/8 1/250s 5500K


Nikon D810 + Zeiss Otus 1.4/55 ISO100 f/8 1/400s 5500K


Sony A7RII + Metabones EF Mount + Zeiss Otus 1.4/55  ISO100 f/8 1/250s 5500K


我裁切畫面正中央的部分，對焦的位置在畫面中央建築的邊角(上圖每一張照片的最右上角)。這樣的距離對於鏡頭來說是無限遠，所以我使用f/8的話應該是很容易在準焦的範圍內。而且從裁切的圖上就可以看出色彩的差異，同樣是完全相同的5500K，不調整白平衡偏移的情況下，Nikon的色彩會比其他兩台相機來的黃一點點。

銳利度的部分三台都很清楚，但我總覺得沒有到非常、非常銳利，或許因為是距離太遠，中間有熱空氣擾動的關係影響，我們把距離拉近一點好了。

I crop 640 x 1080 pixels in the center. Focus right in the middle of the picture(the up-right corner at the pictures above). You still can see that Nikon is more yellow than other two cameras. 

Maybe this building was too far away from the camera, causing the heat in the air makes the image blur. Let's make it closer to subject!

◉ Part 9 銳利度-2 SHARPNESS-II

剛剛的那組拍攝時間約莫是下午兩點，太陽還正熱的時候，大氣中會有比較強烈的熱對流，讓畫面不會那麼清楚。我們把時間換到傍晚，然後距離再拉近一點。

The pictures in last part was took at around 2PM, convection make the pictures blur were still strong. Let's change to evening and takes a closer distance.


Canon 5DSR + Zeiss Otus 1.4/55 ISO100 f/8 1/60s 6000K


Nikon D810 + Zeiss Otus 1.4/55 ISO100 f/8 1/60s 5880K


Sony A7RII + Metabones EF Mount + Zeiss Otus 1.4/55 ISO100 f/8 1/60s 6000K


雖然我們把空氣擾動的問題排除了，但即便都是在很清楚的情況下，還是不容易比較三者的清晰度。因為每一台相機都能夠將所有的線條表現得清清楚楚，如果畫面中出現一個人在建築物的頂樓揮手，那麼這三台相機都可以清楚的看得出來，差別只在於人的大小而已。

如果你非常仔細看的話，可以發現畫面偏下方有一個區塊非常緻密，導致了有摩爾紋或偽色的產生，尤其以A7RII最為明顯，摩爾紋與偽色都有；而D810只有摩爾紋，沒有明顯的偽色，5DSR則是兩個都沒有。但請注意，這並不代表Canon比較好Sony比較差這樣的結果，因為摩爾紋與偽色的產生原因跟感光元件的像素緻密度有關，所以在相同緻密度的物體下，三台不同畫素的機器會產生不一樣的結果，與好壞無關。關於摩爾紋與偽色，我們之後還有一個部分會用來比較。

Even though we've decrease the problem of the air, it is still not so easy to compare the sharpness of three cameras. Because every one of them could shows every line with sharp details. If there's somebody waving his hand in the top of the building, then all of the three cameras could clearly shows that. The difference only lies in the size of that people.

If you watch it very closely. you would found there's an area at the lower place, which has a moiré and false color in the picture, especially A7RII. D810 has moiré only. 5DSR has none of it. 

◉ Part 10 銳利度-3 SHARPNESS-3

前面我們拍美美的模特兒，但那是在依然有環境光的條件下完成的。這裡我們要做的，是完完全全的使用人造光源，徹底的屏除一切人為的自然光會造成的影響。把相機上腳架、使用Live View對焦，並且要求模特兒必須要站在完全相同的位置，用最高的標準來比較三台相機的差異。

這組測試裡我使用Profoto B1與B2兩支棚燈，B1是一盞500瓦的攜帶式電池閃光燈，而B2則是250瓦，我想專業的棚燈器材能夠獲得最穩定的光源輸出。但由於D810的亮度「在目測上」會比其他兩台亮0.7EV，但為了維持完全相同的光圈，我決定以調整棚燈的輸出來讓三張相片獲得完全相同的亮度。B1與B2使用全手動模式，三台相機也用完全相同的單點觸發器Air Remote，這是三台相機都可以使用的(因為我發現到A7RII接了Air Remote for Canon會無法觸發)。B1在Canon與Sony的出力設定為6.0，B2為5.0；換到Nikon的時候就變成了5.3與4.3，這是Profoto加0.7EV亮度的標準做法。而B1的位置在小威的右前方1公尺，並且有上一個Umbrella Deep Silver M，B2則是在他左邊約3公尺，沒有裝塑光配件。我們來看看實際的效果如何：

Now we want to use the flashlight only, eliminate all the light source form the scene. Use a tripod, focus by Live View, and ask our model to stand at the exact place. Use the highest standard to make a comparison.

We use the Profoto B1 and B2 studio light. Under the circumstance of D810 will always brighter 0.7EV than Canon and Sony. We decide to adjust B1 & B2's output to make three cameras could use the same aperture/ISO/shutter speed under same brightness. When we use Canon and Sony, B1 set 6.0 and 5.0, use Nikon, set 5.3 and 4.3. The Profoto B1 equipped with a Umbrella Deep Silver M located in the right front of Wayne's face, B2 was in his left. Let's see how's the image quality goes.

Canon 5DSR + Zeiss Otus 1.4/55 ISO100 f/8 1/125s 5500K 


Nikon D810 + Zeiss Otus 1.4/55 ISO100 f/8 1/160s 5500K


Sony A7RII + Metabones EF Mount + Zeiss Otus 1.4/55 ISO100 f/8 1/160s 5500K

雖然是完全相同的色溫設定，在膚色上拍攝出來還是會有差異，背景的牆面是灰色，最偏紅色的則是5DSR，D810則是稍微有點黃色，Sony的背景則是看起來綠綠的。

Despite the white balance were exactly the same. There's a slightly difference in skin color. the wall behind Wayne were gray. 5DSR tend to be reddish, D810 yellow, and A7RII was kind of greenish in color on the background. 
 

在銳利度上，三者都能夠將小威臉上的細節完整的發揮，就連他不想被看到的也清被清楚的呈現了。其實你可以看得出來3000萬、4000萬、5000萬畫素其實在影像的大小上並不會真的差非常多，但畫面最大的5DSR所能呈現的細節絕對能夠超過其他兩台相機。

Concerning to sharpness, all the cameras could show the whole detail of Wayne's face, even those detail he don't want you to be seen has appeared. We can also see that the image between 30, 40, 50 megapixels doesn't make a huge difference in size. But if you wanna show the utmost details of your subject, 5DSR will always the best choice.

我們再舉一組人像的例子好了。這組在光線的控制上沒有前一組相片來得嚴謹，現場還有一部分的自然光。但我想也應該夠各位做比較了。這組相片風格全部都使用「人像」，但閃光燈的部分就沒有為Nikon做0.7EV的調整了，所以Nikon的相片一定會來得比較亮。


Let's take a look at another example. The light setting were not as rigorous as former part, I didn't adjust the flashlight output for D810, so it'll be brighter for sure. 

Canon 5DSR + Zeiss Otus 1.4/55 ISO100 f/5.6 1/125s 5000K


Nikon D810 + Zeiss Otus 1.4/55 ISO100 f/5.6 1/125s 5000K


Sony A7RII + Metabones Ef Mount + Zeiss Otus 1.4/55 ISO100 f/5.6 1/125s 5000K


大家看起來都很銳利。但這種距離不管是什麼相機都會很清楚啦～但還是有非常些許的差異可以讓各位看看，大家可以注意眉毛的地方，Sony在這個位置還是銳利一些。

Every picture looks so sharp. Even the slightest details could show. But the eyebrows in Sony's picture looks a little sharper than Canon and Nikon. 

◉ Part 11 銳利度-4 SHARPNESS-IV

第一組照片最遠，之後被攝物體距離相機就越來越近了。現在我們要挑戰的是在Otus最近的對焦距離，也就是這樣的拍攝組合下，空氣對畫質所能產生的影響已經趨近於零了。


Now we're challenging the closest focus distance of Zeiss Otus 1.4/55. Let's see how they express the details of food.


Canon 5DSR + Zeiss Otus 1.4/55 ISO100 f/8 1/125s 8000K


Nikon D810 + Zeiss Otus 1.4/55 ISO100 f/8 1/125s 8000K


Sony A7RII + Metabones EF Mount + Zeiss Otus 1.4/55 f/8 1/125s 8000K

前面看了建築物與人像，現在我們來看看食物的部份。這是我特地跑到餐廳去拍的，並且懇求他們讓我使用閃光燈。我使用了一盞Profoto B1在我的左側不到30公分的地方，並且為它上了八角柔光罩Octa。由於Nikon在相同曝光數值下，與其他兩台的亮度有明顯的差異，所以我在Canon與Sony的亮度是6.5，Nikon則是5.8，讓拍出來的畫面亮度盡量接近。

Using Profoto B2 with a OCF Softbox 2' Octa, I adjust the output of flashlight to 6.5 when I use Canon and Sony, 5.8 when I use Nikon. 



不知道各位有沒有發現，這組照片的D810所拍出來的成果反而比較紅，跟我們前面所獲得的成果完全不一樣。你覺得哪一台相機所拍出來的肉讓你覺得肚子餓呢？

To my surprise, D810 looks more reddish in color this time, which result is totally different form the former part. Can you tell me which picture looks more delicious?

◉ Part 12 摩爾紋與偽色 MOIRÉ AND FALSE COLOR

自從Nikon D800E做了全世界第一台「移除低通濾鏡效果」的相機之後，摩爾紋與偽色這兩個過去名不見經傳的名詞突然成為了相機界有名的小知識。摩爾紋是當感光元件的排列密度與物體相近時而會產生的現象，而偽色則是拜爾式感光元件在物體緻密度與感光元件的像素相近時，計算錯誤鄰近像素的色彩所產生不存在於真實色彩的結果。很多情況下這兩種現象會同時出現。移除低通濾鏡除了會讓銳利度提升以外，但摩爾紋與偽色也會隨之產生。這裡我們要來看三台相機在拍攝相同畫面的時候，產生這兩種現象的多寡程度。

The names of moiré and false color become widely acknowledged after Nikon D800E made it to the world first DSLR without low pass filter. Moiré is a pattern that could be perceived when the density of pixel arrangement on the sensor similar to an object. False color is made by camera that miscalculate the color when the objects in the picture shows a high density of arrangement. Both of them show their appearance together for most of the time. Removing the low pass filter will not only make picture to reach its top quality, but moiré and false color would be generated at the same time. Watch the amount of moiré and false color that three camera has generated under same photo condition below.


Canon 5DSR + Zeiss Otus 1.4/55 ISO100 f/8 1/400s 5500K


Nikon D810 + Zeiss Otus 1.4/55 ISO100 f/8 1/400s 5560K


Sony A7RII + Metabones EF Mount + Zeiss Otus 1.4/55 ISO100 f/8 1/400s 5500K


在同樣的畫面下，5DSR所產生的摩爾紋就會比D810與A7RII來得少一些。

Under the same situation, Moiré and false color in 5DSR are less than D810 and A7RII. 

我們再舉另外一組更明顯的例子：


Let us see another example with more perceivable moiré and false color:

Canon 5DSR + Zeiss Otus 1.4/55 ISO100 f/5.6 1/125s 5000K


Nikon D810 + Zeiss Otus 1.4/55 ISO100 f/5.6 1/125s 5000K


Sony A7RII + Metabones EF Mount + Zeiss Otus 1.4/55 ISO100 f/5.6 1/125s 5000K


在同樣的距離下，而且是在銳利的條件下，在面對相同緻密的物體，5DSR比較不容易產生摩爾紋與偽色。原因並不是Canon有什麼消除摩爾紋與偽色的妙招，而是它的像素排列比較緊密，所以在同樣的距離之下能夠分辨畫面中較為緻密的物體。相對的來說，如果是在5DSR產生摩爾紋的情況下，D810與A7RII可能就不會有摩爾紋與偽色的產生，但它的原因可能是感光元件無法分辨緻密度如此高的畫面，對於CMOS來說那個地方已經是模糊成一片了，自然不會有摩爾紋與偽色的產生。

In the condition of same distance and being sharp, 5DSR is more unlikely generate moiré and false color than D810 and A7RII. It is not because Canon has a special technology to reduce them,but just for it has more density in pixel arrangement. On the other hand, If moiré and false color show in the picture of 5DSR, D810 and A7RII may give you a blur result for their density in pixel arrangement couldn't in accordance with the object. Actually, that's how a low pass filter work! By making blurriness deliberately, low pass filter could prevent moiré and false color.

◉ Part 13 白平衡-傍晚 WHITE BALANCE IN SUNSET

Canon 5DSR + Zeiss Otus 1.4/55 ISO100 f/8 1/320s WB: AWB


Nikon D810 + Zeiss Otus 1.4/55 ISO100 f/8 1/320s WB: Auto2


Sony A7RII + Metabones EF Mount + Zeiss Otus 1.4/55 ISO100 f/8 1/320s WB: AWB

5DSR的白平衡我選擇[氣氛優先]，D810則是選擇[保留暖色調光線色彩，而A7RII的自動白平衡並沒有特別針對暖調或冷調光線作修正的設定。各位比較喜歡哪一個呢？我總覺得Sony在這個部分的色彩相對來說怪怪的。

White balance setting:
5DSR: [Ambience priority]
Nikon: [Keep warm light colors]A7RII: Auto

◉ Part 14 高感光度 HIGH ISO SENSITIVITY

所有的設定都使用M模式、白平衡4000K，而且我是從最低原生ISO開始，但這裡我為了方便看高ISO就沒有放ISO100/64到800的部分。長時間曝光雜訊消除設定為開啟。高ISO雜訊消除也是開啟。


All cameras were set to M mode, 4000K in WB. Compare the noise from ISO1600 to their top. Long time exposure and high ISO noise reduction both turned on.

Canon 5DSR + 24-70mm f/2.8L II ISO12800 f/4 1/50s


Nikon D810 + 24-70mm f/2.8E VR ISO51200 f/4 1/320s

這組照片我依然將Nikon所有的亮度減0.7EV，否則亮度會與另外兩台相機有明顯的落差。


Sony A7RII + SEL2470Z ISO102400 f/4 1/400s

接下來的比較，我們從ISO1600開始，一直到最高的ISO102400，這部分我全部都有開啟高ISO雜訊消除。
ISO1600 70mm f/4 4000K 
5DSR, A7RII: 1/10s
D810: 1/5s


ISO3200 70mm f/4 4000K 
5DSR, A7RII: 1/13s
D810: 1/20s

到這裡已經漸漸的可以看出來，5DSR的細節正在慢慢消失。

Details in 5DSR are gradually losing.


ISO6400 70mm f/4 4000K 
5DSR, A7RII: 1/25s
D810: 1/40s

感光度到了ISO6400算是一個交界點，Canon的原生感光度到此為止，細節也逐漸地流失中。Nikon也從這裡開始敗給A7RII，雖然細節上還保留得不錯，但D810的雜訊越來越多了。

D810 still keeps a good detail but the noise are kind of obvious when compare to A7RII. And ISO6400 is the top native ISO of 5DSR.


ISO12800 70mm f/4 4000K 
5DSR, A7RII: 1/50s
D810: 1/80s

達到5DSR的最高感光度，這裡也是D810的最高原生感光度，畫面中也出現了奇怪的紅色色塊，Nikon在ISO12800的下降得比較明顯。

5DSR reached its top ISO sensitivity in 12800, which is the end of native ISO of D810. Nikon's detail drops here evidently.


ISO25600 70mm f/4 4000K A7RII: 1/100s
D810: 1/160s

Nikon在這裡已經沒有細節可言了，整個畫面像是對錯焦般的模糊，而ISO25600也是原生感光度的終點。

There's no much details in Nikon here, just like out of focus in ISO25000, which is also D810's top native ISO sensitivity.



ISO51200 70mm f/4 4000K 
A7RII: 1/200s
D810: 1/320s


A7RI ISO10240mm f/4 1/400s 4000K 

雖然ISO102400完全不是實用的ISO，但在非不得已或相當陰暗的強況下依然能夠應急。A7RII的ISO102400表現跟D810的25600差不多，表現非常可怕。

我想高ISO的部分不用多說，A7RII的表現徹底的超前另外兩位對手，其次是D810在ISO6400以前都還能夠與A7RII平起平坐。5DSR則是吊車尾，畢竟相同感光元件面積下塞這麼多畫素，雜訊必然產生。但A7RII厲害的地方在於，它的像素即便比Nikon還要多，但高ISO的純淨度依然比D810好。關於這點就牽扯到各家對於雜訊處理的能力了，Sony在這個部分真的很厲害呀...

Despite the fact that 102400 is totally not a practical ISO sensitivity. It is still useful when you take a picture in a dark place. The noise level of ISO102400 is about the same as ISO25600 of D810. Which is remarkable. 

In my opinion, the A7RII's performance in high ISO sensitivity is much better than Canon and Nikon. The noise level stays the same between D810 and A7RII before ISO12800. Even though that A7RII has more resolution than D810, it could still keeps a good quality in every level.   

◉ Part 15 低感光度 LOW ISO SENSITIVITY

如果要看相機的雜訊表現，我們除了可以看它的高感度，也可以從低感光度的面向來看。這組比較我們從30秒的長時間曝光著手，特地去檢視陰暗處所產生的雜訊。

Other than high ISO sensitivity, look at the long exposure with low ISO is a good way as well  if we want to know the noise reduction performance from another phase. we'll check the noise in dark area of pictures under 30 second long exposure.


Canon 5DSR + 24-70mm f/2.8L IS II ISO100 f/10 30s


Nikon D810 + 24-70mm f/2.8E VR ISO100 f/10 30s


Sony A7RII + SEL2470Z ISO100 f/10 30s

低ISO的這裡我特別抓處畫面的暗處，但不是最暗的地方，而是刻意去找稍微亮的暗處。原因是通常這種地方會出現雜訊，如果是極暗處也會有，但不會那麼明顯。這些圖片是直接從上面的三張圖做原圖裁切而成。原始檔案是JPEG。

I crop original JPEG files of three camera with the size of 640 x 1080 pixels. Choose a not-too-dark area of pictures for its is more noise-noticeable than purely dark area.


同樣是ISO100，同樣有開雜訊抑制功能，各家相機的雜訊表現就會不一樣。請各位注意畫面中較暗的部分，Canon的天空有稍微明顯的色塊，或許是因為畫面偏紅色的關係比較明顯；而Sony的暗部雜訊次之，Nikon也不是完全沒有，但非常的淡。

同時我們也可以從這張圖來看畫面中的細節，你可以看看右側的建築物邊緣，Canon的細節丟失的比較明顯，建築物的邊緣以及上頭堆砌的地方會有毛邊，我想這也有一部分受到熱雜訊的影響，在細節上還是Sony銳利一些。

With turned on the long time exposure noise reduction and ISO100, three cameras still varies in the amount of noise. There are some relatively distinctive color patches which shouldn't be in the sky in picture of 5DSR, A7RII had some of them, hardly did D810.

As of the details, A7RII still a little more sharper than others. In my opinion, noises should pay the most responsibility for losing details.


低ISO拉亮 Adjust Exposure in low ISO
前面一組比較是原始的JPEG，在完全不後製的前提之下去檢視。現在我們要看的是14 bit無壓縮RAW檔進電腦調整的照片。由於我拍攝的時候是選擇RAW+JPEG，所以其實是跟前面的相片是完全相同的，只是一個是RAW一個是JPEG。

我使用Photoshop匯入三張相片，用Camera RAW將曝光補償+3EV，藉此看看畫面暗處中所藏匿的細節。有別於前面我選的是暗處中較亮的地方，這次我選的是畫面中的最暗處，這種地方不調整的話通常看不太出來裡面有雜點(因為根本是一片黑)，而且這裡的亮度才夠低，禁得起我用Photoshop拉亮3EV之後還可以保持陰暗，如果我用前一組的位置，那所有照片看起來都亮晶晶的，會根本看不出來差別。

我從這裡開始A7RII就會發揮到完整的2.00韌體檔案。新版韌體有個最重要的地方，那就是14bit無壓縮RAW檔，這裡只要有牽扯到RAW檔的就是新版的韌體，而前面所有的照片，有部分是用V2.00，有的是V1.10，但因為前面所有的照片都是JPEG直出，JPEG只有8bit根本看不出來。

The former part was compared with original JPEG which had not processed by any software. Now we're going to see the performance of RAW. Owing to that I choose RAW + JPEG when i took the picture, so the RAW file here are that same one as the JPEG.

We used Photoshop Camera RAW to adjust exposure with +3EV to see the details hide behind the darkest area. From now on, this is the part where A7RII's V2.00 firmware makes a difference. 

我想勝負非常明顯，你甚至不需要點開大圖就可以看出端倪。Canon的雜訊滿天飛，從暗處到亮處全部存在，注意畫面下方的琉璃瓦，5DSR的畫面根本沒有辦法去數它上頭的數量，細節已經完全的被雜訊淹沒，在這個部分5DSR完全不是另外兩者的對手。

剩下的兩台相機，各位覺得哪個雜訊表現會比較好呢？小編認為雖然D810與A7RII的成果非常接近，但D810依然是略勝一籌，各位可以從一些非常小的細節上看出端倪，例如畫面中的琉璃瓦上，你可以看到D810展現出來的線條還是比A7RII來得多一些。


Obviously, noise of 5DSR are everywhere, you even don't have to click to see the full picture. The details of Chinese glazed roof tiles(the darker part in the picture) are completely lost, covered by noise. 


As of the Nikon and Sony, I think D810 are slightly better than A7RII. You can tell the difference from the lines in the dark. 

◉ Part 16 寬容度 EXPOSURE LATITUDE

我們通常說的動態範圍，意思是在同一張照片裡從最亮到最暗的範圍，如果動態範圍越高，那麼相片中的亮處的細節就會越清楚，不會爆掉；非常暗的地方也會有細節。動態範圍直接看照片就能看得出來。所以高動態範圍(HDR)相片能夠同時納入遠方夕陽下的雲彩，又能夠同時清楚地看見近處寺廟中的神龕上炊煙裊裊。

而寬容度的意思是，在同一張照片裡面所藏的亮度資訊，它指的是照片中所容納的所有資訊量，包含你看不見的在內。通常檢視相片的寬容度需要透過軟體把這些資訊拉出來，看看裡面還留下多少的相片細節，或者是產生了多少雜訊在內。


The word "Dynamic Range" means the range between brightest and darkest area in the same picture. You can see all the details inside brightest and darkest area simultaneously if one picture's dynamic range is really high. If it's low dynamic range, the bright area will be totally white, and the dark area will be jet black. Dynamic range can easily be compared by looking with your eyes.

"Exposure Latitude" means the all the brightness information in one picture, inclusive of those you can't see. We could reveal those information hiding under dark area by adjust them with software. What we'll do here is to adjust the brightness of RAW files. To see how much details and noises hide behind the bright and dark area. 

Here's the original 0EV picture:


Canon 5DSR + Zeiss Otus 1.4/55 ISO100 f/8 1/60s 5500K


Nikon D810 + Zeiss Otus 1.4/55 ISO100 f/8 1/100s 5500K

這個部分D810依然是以-0.7EV的曝光拍攝。對焦沒對好但是已經來不及再拍一次了呀呀啊啊！！

My apology, this picture is not in exact focus, but wouldn't affect the result much. 


Sony A7RII + Metabones EF Mount + Zeiss Otus 1.4/55 ISO100 f/8 1/60s 5500K

我們要怎麼看一張照片的寬容度呢？很簡單，在拍照時故意的曝光不足或過曝，然後再使用軟體拉回就好了。為了要一次看到相機的極限，我把相機分別拍成-5EV與+5EV，然後再使用Photoshop拉回。請各位看看-5EV的相片：



這張是Nikon D810所拍，降了5EV之後，光圈不變，但快門速度從原本的1/100s變成1/3200s，非常的暗。我們要做的就是使用軟體把它拉亮。我使用的是Photoshop CC，並且在10/27更新軟體。有趣的一點是：雖然我在拍攝時機身上的白平衡設定是5500K，並且沒有做白平衡偏移，但把相片匯入Photoshop的Camera RAW之後都變成不是5500K，Canon與Nikon大約是五千多，但A7RII會變成4800K，所以我就手動再Camera RAW裡把它們標準化，拉成5500K，然後色彩偏移也歸零。避免等一下我們看色偏的時候會因為白平衡的變動而失準。

我們來看看從-5EV拉亮之後，原本相片的色彩會跑掉多少：

Canon色偏
Canon 5DSR + Zeiss Otus 1.4/55 ISO100 f/8 1/2000s 5500K 
+ 5EV in Photoshop

Canon的顏色看起來比原本0EV曝光的相片還要來得紅一點，尤其是原本下方的綠色草皮，加上了紅色之後現在變得比較偏黃色。


Nikon色偏

Nikon D810 + Zeiss Otus 1.4/55 ISO100 f/8 1/3200s 5500K 
+ 5EV in Photoshop


Nikon也是稍微有一點偏紅色或紫色的感覺，而且整個相片的飽和度感覺下降了。

Sony色偏

Sony A7RII + Metabones EF Mount + Zeiss Otus 1.4/55 ISO100 f/8 1/2000s 5500K 
+ 5EV in Photoshop


最明顯的應該是Sony，畫面偏綠色。

然後，我們把上圖以640 x 1080裁切，來看看在拉亮之後暗部的表現，這也是許多攝影工作者最在乎的暗部寬容度表現：

若是以雜訊的多寡來說，我認為3630萬畫素的D810雜訊最低，畢竟雜訊的多寡與畫素的數量有直接的關係，不然主打超高ISO的A7SII就不會刻意的要做1200萬畫素、1DX或D4s也還沒有2000萬畫素，原因就在這裡。注意畫面下方磁磚的部分，D810與A7RII有稍微明顯的差異。

但要說到細節，還是A7RII略勝一籌，最主要的原因就是它的畫素數量比D810多了590萬畫素，能夠把畫面呈現的更大，自然能夠表現出較多的細節。

至於Canon，各位請自己看吧...


我們來看畫面中央亮處的部分，這也是從-5EV拉亮的結果。

為什麼5DSR會有這樣的表現，我想我能夠解釋的，依然是畫素的數量，過高的畫素讓畫面中容易產生雜訊，無論是高或低感光度都會是一樣的。但小編認為Canon的表現能夠再更好一點，因為暗部的雜訊會是攝影師在拍攝時非常重要的指標之一，當相片的意外的曝光不足時，透過後製拉回還能保有與曝光正常相同的品質是非常重要的，中片幅的職業機種最強大的地方，就是在暗部拉亮時還依然能保有非常低的雜訊以及非常多的細節。這對於5DSR、D810、A7RII這類「越級挑戰」的超高畫素機種來說也是非常重要。



+5EV拉暗
數位感光元件的特色是對於暗部細節的保留能力非常好，但亮部細節的能力就比較差，這一點完全與底片相反。

Canon 5DSR + Zeiss Otus 1.4/55 ISO100 f/8 1/2s 5500K 
- 5EV in Photoshop


Nikon D810 + Zeiss Otus 1.4/55 ISO100 f/8 1/3s 5500K 
- 5EV in Photoshop


Sony A7RII + Metabones EF Mount + Zeiss Otus 1.4/55 ISO100 f/8 1/2s 5500K 
- 5EV in Photoshop

這個部分我不敢下很明確的結論，因為我拍攝的時間是傍晚，所以太陽亮度的變化不會有中午的時候來的穩定，雖然我已經是盡一切所能快速的換相機拍攝了(所有相片約在5分鐘以內拍完)，在亮度上依然會有非常輕微的變化。再加上我對於Nikon的-0.7EV亮度是估計出來的，所以對於亮度這種結論就不敢亂下，以免失去科學精神。以上三張圖片也僅供參考。




■影片表現 VIDEO PERFORMANCE
接下來所有的都是以4K的方式呈現，我想在座有4K螢幕的人應該非常少，但我相信即使你沒有4K螢幕，依然可以看到FullHD與4K畫質的差別。我可以在最開始就先講，畫面的清晰銳利度Sony在這裡是全勝，因為A7RII的影片解析度是5DSR與D810的4倍，不管怎樣都一定會比較清楚。

◉ Part 17 影片銳利度 VIDEO SHARPNESS

我想各位應該能體會到4K影片的強大了吧。在所有的畫面細節中依然是4K的畫質表現最為突出，無論是摩天輪的結構、建築物的邊緣細節、植物的葉子等等都非常的清晰銳利。
再來看一組比較好了，這裡我們除了要看畫質以外，還要聽三者的收音效果如何。

畫質的部分在者組比較不容易看得出來，但你依然可以從表演者的臉部與頭髮去分辨4K與Full HD的差異。

在聲音的部分，Sony從高音到低音都能夠相當清楚的呈現，5DSR的表現次之，最扁平的應該是D810，這也是Nikon相機一直以來的收音特性。

◉ Part 18 手震補償 SteadyShot

A7RII是三台相機之中唯一一台有機身防手震的機種，為求公平，我使用的鏡頭為Otus，但我實在是看不太出來有任何差別...

聽聽我的朋友陳小威為各位帶來的Fly Me To The Moon:

◉ Part 19 影片高ISO比較 HIGH ISO COMPARISON

這裡我只有拍攝ISO1600到ISO6400的表現，讓各位看看

感光度在這個範圍之間沒有太明顯的變化，但D810在ISO6400的雜訊上變得明顯許多，畫面也不斷的有色塊雜訊湧出。




■使用心得與建議 EXPERIENCES AND SUGGESTIONS
我覺得使用這三台相機壓力實在是太大，因為我時常搞不清楚到底誰是清楚銳利的。你拿2400萬畫素的相機，要檢查畫面是否銳利並不是一件難事，但在3000萬畫素以上，這變成了令人頭痛的難題，你永遠無法真正搞清楚誰是「真正的」銳利，我舉個例子給你看：

I personally feel very pressured when using these three cameras, since it's hard to differentiate their clarity and sharpness. It's easy to check the sharpness if your camera is at 24 megapixels or below. But in the world of 30MPs and beyond, it becomes a pain in the neck: you'll always be questioning whether you've got the sharpest image or not. Let me give you an example: 

 
這一組照片是我用5DSR所拍，下面的圖是我從上面裁下來的，請問那一張比較銳利？

Upper two photos are taken by 5DSR, and the two below are cropped from the upper two. Which one is sharper?

文章選照片做比較的時候，我通常是選擇最後一張，這些照片在相機上完全沒問題，每一張照片在放大後都銳利非常。但一直到我進Photoshop做比較的時候，就覺得有點不對勁，但卻又說不上來是哪裡出了問題。原本我使用的是右邊的照片，但後來發現好像沒有很銳利，最後又打掉重做選擇左邊的那張照片，請問你看得出來差異嗎？試著看久一點吧。

小編認為，3000萬畫素以上的相機，特別是5000萬畫素的5DSR，會嚴重的考驗你對於銳利度的定義，即便上了腳架，就算是汽車從路邊經過都會讓你的相機晃動、一陣不是很強的風吹過來都會影響到畫面，這種微震已經超越了機身減少震動所能夠解決的範圍。如果要拍攝完美的照片，最好選個安安靜靜都沒有人的地方，然後找一支超級穩、超級大而且超級重的腳架，拍攝的地點最好遠離地球的斷層帶，避免地震。如果可能的話，或許可以試著把地球的自轉先按一下暫停，這樣子你才能夠獲得終極的銳利照片。

在操作上，我認為大多數的專業使用族群還是會較習慣於Canon與Nikon的操作，畢竟這兩家已經是古老的大廠，早已養成了龐大而且忠實的使用者族群。而且在操作上Canon與Nikon完全不會有延遲的情況發生。但Sony在調整光圈與快門數值的時候，螢幕上的數字常常會跟不上滾輪的速度，以至於要快速調整時常常多會Canon或Nikon多花一點時間。對於職業使用者來說是個劣勢。


When making a comparison graph in Photoshop, I usually choose the last picture I took. The picture is totally fine when you see it on the camera screen. When you import them into Photoshop, it's always slightly different. It's sharp in the first look, but becomes blurrier the more time you view them. Originally I used the picture on the right, but gradually it became less sharp. So I remade the graph, and chose the picture on the left. Can you tell the difference? Try to look at them longer.

Using a camera with a resolution higher than 30 megapixels (especially higher than 50 MP) will seriously challenge you and your definition of sharpness. Even if you use a tripod, the vibration of a car passing through, or a not-so-strong wind blowing could easily make your picture blur. If you want to take an ultimate sharp photo, you better use a super heavy, big tripod, find a quiet place with no people for sure, and stay away from earth's fault zones to avoid earthquakes. And if possible, maybe even try to pause the earth's rotation. Just for the perfect sharpest picture.

If that's not possible, try to use a flashlight. The duration of a flash is usually much shorter than the shutter speed. And that's how the flashlight can freeze the subject when you only use the flashlight under a reasonable shutter speed.

When it comes to camera control, I think most professionals are used to Canon and Nikon, since they have been in this market over 50 years! With Canon and Nikon, there will never be a single lag when you press/roll/click any button. But Sony does, especially when you're adjusting the aperture/shutter. The numbers on the screen always can’t catchup the speed that you scroll. So it always takes more time to adjust, which is a disadvantage for professional users.



在外接配件的支援度上，這個部分依然是Canon與Nikon的天下，例如小編這次用的棚燈設備Profoto，引閃器也就只有Canon與Nikon的熱靴規格，雖然Sony也可以使用單點的Air Remote觸發，但卻不能使用高速同步與TTL，這對於戶外的攝影來說會是很大的限制。但我相信未來Sony只要持續的經營這一塊，讓更多的職業使用者加入，也必定會有越來越多的廠商推出相應的配件。

In terms of accesories, Canon and Nikon still take the lead. For example, the studio class flashlight Profoto is offered only by the Canon and Nikon TTL trigger. Even though Sony can still use its Air Remote trigger for single pin in hot shoe, but it still cannot use Sony's TTL metering and break A7RII's sync speed. However, I believe if Sony keeps making progress in their cameras, there will be more and more professional accessories to be developed. 


Canon 5DSR 

在銳利度上，雖然我早就知道是這個結果了，但還是要跟各位報告一下。那就是：三台相機都非常、非常清晰銳利，但我無法告訴你哪一台比較清晰。不過我可以告訴你，如果你要盡一切可能的輸出最大的畫面，或者是看透畫面中所有的細節，或者你就是想要畫面越大越好，那毫無疑問的，你應該以Canon為第一考量，因為就畫素上來說，它的確能夠獲得最大的畫面。而且在鏡頭的素質能趕上的情況下，5DSR的確是目前最接近中片幅超高畫素職業機種的相機，毫無疑問的。

但超高畫素所帶來的影響是全面的，不僅僅只有在畫質上而已。例如在追焦的情況下，假設兩台相機的的對焦能力完全相同，擁有高畫素的相機依然比較吃虧，因為物體在感光元件上比低畫素的相機移動了更多像素，以至於兩台的畫面放到最大時，高畫素的相機看起來一定會比較模糊。我認為在連續自動對焦的部分5DSR輸給D810是非戰之罪，在我眼裡它們都有相同的追焦表現。

更重要的一點是，在相同的面積之下塞入更多的像素，同時也代表了雜訊會更容易產生。這也是5DSR的致命傷。無論是在高ISO雜訊、低ISO長曝雜訊、低ISO長曝寬容度，以及-5EV的寬容度上，5DSR可以說是全盤皆輸。偏偏這些都是攝影師會在乎的重點。當我相片不小心拍得過暗，需要後製拉亮時，我需要相機能夠提供我乾淨的相片品質，確保我後製依然能夠有低雜訊、高銳利度的表現。我認為5DSR雖然推出了5000萬畫素的機種，卻有種讓人沒有完全準備好的感覺。

我認為，如果你的要求是必須要盡一切可能拍攝高畫素的相片，並且因為預算限制而無法把金額提高到Hasselblad、PhaseOne等職業級的機種。而且畫面暗部的雜訊，或者是ISO6400以上的超高ISO都不是你在乎的地方，那麼5DSR搭配一顆優質的鏡頭，就可以滿意地達成你的要求。

As for the sharpness, needless to say, all of these three cameras are extremely clear. I couldn’t tell which one is better, but I can tell you if you’re trying to export the biggest image, or to inspect all the details in the image, then without a doubt, you should take Canon 5DSR into the first consideration. The reason is that it does capture the biggest image when it comes to pixels, and when equipped with a high level lens, the image quality of 5DSR is indeed very close to the medium format camera.

But the effect of the ultra high pixel is comprehensive, not just in the image quality. For example, if the AF tracking is on, and there are two cameras with the same focus ability, the one with a higher pixel count is at a disadvantage because the object moves among more pixels compared to the one with a lower pixels count so that when we magnify the image to its largest possible size, the one with a higher pixel count will look more blurry. In my opinion, it’s not totally fair to say that 5DSR lost to D810 in that part. To me, they both have the same tracking performance. 

What’s more important, to cram more pixels inside one picture, we get more noise. This is also 5DSR’s death wound. When talking about the high ISO noise, noise of long exposure, latitude of long exposure and the normal latitude, 5DSR loses them all. However, these are the points a photographer would care. If my photos are coming out too dark, and I need to use an editing program to fix them, I would require a camera that offers me clean enough pictures to ensure a high standard of quality in my post production. Although Canon has launched this camera with 50 megapixels, I feel like they’re not ready.

In my opinion, if you want to get photos with as much resolution as possible, but can’t afford the professional cameras like Hasselblad or PhaseOne, and the noise in the dark or the super high ISO are not the most you care, then a 5DSR with a nice lens will meet your demand.


Nikon D810

雖然是去年的產品，但也是Nikon問鼎專業級市場的第二塊敲門磚，Nikon D810的產品定位非常明確：高畫素，並且提供ISO64這樣的低感光度，很明顯的就是為了職業的市場所設計。3630萬畫素的感光元件不但可以完整的發揮對焦系統的能力，更重要的是在雜訊的表現上也調整到很均衡的狀態。D810在本次的集評中擁有最高的寬容度，不論是-5EV拉亮，或者是在30秒的長時間曝光下的雜訊都是三台相機之最。

由於相對來說3630萬畫素，對上5DSR的5060萬畫素，比較不需要擔心快門微震的問題，但在使用時還是請各位要注意，如果可以的話請盡量使用腳架拍攝，並且使用倒數計時快門。雖然D810有電子快門的設計，但那是只限定於反光鏡翻起的狀態下才能使用，而且必須搭配快門線才能達到穩定的狀態。

另外還有一些D810特別突出的功能，像是本篇文章沒有特別去測ISO64，但對於職業的使用者來說這是一個提升相片品質的好工具。以及快門1/320的快門同步速度，還有單顆電池可拍1200張的超強續航力，都讓D810能夠作為職業用攝影器材的好理由。

如果你需要的並不是超高的畫素，並不以盡可能拍攝最大的相片為依歸，而且講求暗部拉回的相片純淨度，還有畫面中的細節還原力、長時間曝光所產生的雜訊，還有電池的續航力等等，那麼Nikon D810會是個非常穩定而強大的選擇。

Though D810 is the product of 2014, but It is the second product of Nikon step into professional market. D810 has a very clear product positioning: high resolution and low ISO to make the best image quality, which is totally designed for photo expert. 3630 megapixels could not only unleash the full potential of AF system, it is a balance point between high resolution and noise reduction. D810 owns the best exposure latitude, as well as the noise performance in long exposure. 


Sony A7RII 


身為一個「傳統」DSLR用者，我實在是有點不能接受，因為Sony在本次的測試中贏得了許多項目。自從他們推出全片幅Mirrorless相機A7以來，Sony就排山倒海的正在席捲整個市場，但要跨入專業級的市場來說還是有些難度，畢竟C、N兩家從過去以來幾乎就是專業相機的代名詞，但A7RII在本篇文章中的表現讓我看到了另外一個可能。

雖然在長時間曝光拉亮的部分，以及寬容度的部分Sony的表現還是差Nikon一點點，但我認為那有一部分必須歸咎於4220萬像素所產生的雜訊，能有這樣的表現我認為A7RII可以跟D810平起平坐。但在高ISO的部分，Sony在感光度12800以上完勝Canon與Nikon，最高ISO甚至達到了102400，在極暗的地方A7RII是最好的選擇。但在連續自動對焦的追焦速度上還是無法達到Canon與Nikon的標準。

在暗部對焦的部分上，Canon與Nikon已經到了望塵莫及的地步。雖然這三台相機的對焦感應範圍最低都是-2EV，但我們在低光源對焦實測的部分就能看出非常明顯的差異，A7RII在這個部分可以說是完勝。其他地方像是4K錄影，4倍於Full HD的解析度也是讓C、N兩家必須要舉手投降的地方。還有一些Canon與Nikon沒有的功能例如SteadyShot，還有讓手動對焦變得輕鬆容易的峰值對焦。以及相對來說又小又輕的機身，讓這個出道沒幾年的產品線就可以對著Canon與Nikon兩大巨人叫囂。

一個市場上總要有年輕一輩出來，推出超前於當代的產品，整個市場才能夠大幅度的往前推進，就如同當2007年的蘋果一樣，推出打破既有概念的iPhone，一舉結束功能型手機的時代。我不敢說A7RII的重要性如同蘋果的iPhone，但把三台相機排開來比較，A7RII的表現的確令人刮目相看。

最後，不知道大家還記不記得。2008年Sony與Nikon分別先後推出2400萬畫素的A900與D3X的時候，大家都把A900當一場笑話，據傳這兩台相機是使用同一片Sony製造的感光元件，但當時的D3X不論在畫面的細節與雜訊的處理表現上都大幅度領先。沒有人知道後來的Sony放棄DSLR轉向DSLT、開發NEX系列，接著做出全片幅的RX1與A7系列，他們這一路走來不斷地摸索，尋找出路，變成們現在所熟知的Sony.

As a "traditional" DSLR user, I couldn't accept that Sony has won a lot part. As Sony release the full frame Mirrorless camera A7, Sony sweep the whole camera market. But still hard to make professional user to move. After all, Canon and Sony are almost the synonym of professional camera. But A7RII makes me see another possibility.

Although A7RII still loses D810 in long time exposure and latitude. It is necessary that we take the noise made by 42.2 megapixels into consideration. I think the performance of A7RII and D810 in this part should be considered the same.

5DSR and D810 couldn't stand a chance to win A7RII when focusing in dim light. Although their lowest focus sensitivity are all -2EV, but it was still makes a lot difference in reality test. Other functions like 4K video could make Canon and Nikon have no choice but to surrender, SteadyShot to stabilize the image , Peaking focus to makes manual focus becomes easy, and relatively light and small body, made this new product could shout in front of the two giants.

Any market will always need a newer generation of products to surpass the ones that are currently selling. It is the only way a market can ever continue growing, just like how in 2007 Apple introduced the iPhone into the world, and redefined the age of technology. I won't say the A7RII is as important as the iPhone, but when comparing all three cameras together, the performance of the A7RII is definitely outstanding and one worth taking note of. 

Do you still remember that Sony and Nikon release the 24 megapixels A900 and D3X respectively in 2008? Everybody see A900 as a joke in that time. It's is said that these two models are adopted with same CMOS which manufactured by Sony. But Nikon D3X wins greatly not only in image quality but noise reduction. After that, Sony gives up DSLR and turns into DSLT few years later, developing NEX series and made the full frame RX1 and A7 series, gradually turn into the Sony now we know.




























文字的部分正在趕工中...

This article is still under construction...


特別感謝：
英文校對與翻譯：Jenny Wu, Wendy Jeng, 薩摩耶
樂手：小威 Wayne、盧廷軒、黃茵琪
場地：Remember Me 記得我 咖啡
鏡頭借用：Ryan
影片製作：Yves, Cody
拍攝協助：Steven


We don't have an English website yet. If you have any question or any suggestion about this article, please leave a message in THIS ARTICLE OF OUR FACEBOOK Thank you.