I work for years with Sinar multishot backs. Two points are essential. First, a perfectly uniform lighting during the all process. The flashes must be first class. Then, a very strong fixation of the camera (a big Sinar P2, with its large SinarCam 2 shutter). When it is possible, I remove a large Foba column stand to make shots over several days (in the industrial field, or in reproduction of works of art), I do not deny. If I have to work out of my studio with a (heavy) tripod (it is more usual), I always assure my P2 with a Magic Arm and weights to optimise the stability.
Any tiny movement, or the slightest difference in illumination is paid cash: the image is embossed ("gaufrée", in French). Each image must be checked in details on the screen of the Mac before giving an OK.
The work is long and difficult, but the result is SO MUCH better than I do not deny. The 16 shots mode, when it is OK, gives real satisfaction. The files are bigger, more rich, and without any moiré. Colours are much accurate, particularly in the neutral zones.
Of course, working in the studio is more easy, fast and sure. Everything is OK. I hate to move my material outside...