Red Komodo

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KOMODO 6K: Ultracompact RED

RED has taken fresh steps with the release of the KOMODO 6K Digital Cinema Camera by bringing their legendary image quality and color science into an ultracompact, all-in-one design that weighs just 2.1 lb and measures about 4 x 4 x 4". Key to achieving this goal was the use of the Canon RF lens mount and the KOMODO 19.9MP Super35 CMOS sensor which boasts Global Shutter technology. This sensor can create images with 16+ stops dynamic range and eliminates rolling shutter artifacts. Users can also be certain they are getting RED quality thanks to the ability to record up to 6K at 40 fps, 5K at 48 fps, 4K at 60 fps, and 2K at 120 fps in REDCODE RAW for incredible flexibility in post-production.

All-in-One Design

Revolutionary for RED is the creation of an extremely compact all-in-one design with the KOMODO. This means you can simply pop in a CFast 2.0 card into its media slot and you are ready to roll with data rates up to 280 MB/s. A top 2.9" 1440 x 1440 touchscreen makes it easy to configure and monitor your footage or you can use the RED Control system for using an iOS or Android device for preview and settings. This is possible through integrated 2.4/5 GHz Wi-Fi. Wired control is also possible via the USB Type-C port and optional adapters. The RED KOMODO 6K offers an exceptionally compact form factor that sacrifices nothing in terms of image quality. This base model includes the KOMODO 6K, a 45W AC power adapter, a Mini World Travel Adapter Kit, and a Canon RF-to-EF mechanical adapter.

6K S35 Sensor

The KOMODO 6K features a 6K Super35 19.9MP CMOS sensor with a dynamic range of 16+ stops and a resolution of 6144 x 3160

Take advantage of the 6K resolution to capture in 6K full frame or do a 4K or HD crop

Use the higher resolution to stabilize your shot in post-production

Global Shutter

The KOMODO 6K's global shutter produces crisp images while reducing motion artifacts.Records fast-moving action the way it should be without blurred or curved lines.Captures every moment, burst, and flash without losing any dynamic range or image quality.

Canon RF Mount

The use of the Canon RF lens mount allows the KOMODO to be extremely compact while still enabling compatibility with a vast range of lenses through the use of optional adapters. The mount will natively support mechanical RF lenses and mechanical EF lenses via the included adapter. Using optional electronic EF-to-RF mount adapters, the KOMODO will even support electronic Canon EF-mount lenses and unlock additional functionality, such as autofocus.

Phase-Detect Autofocus

A first for RED is the ability to use Phase-Detect Autofocus (PDAF) with compatible lenses. This includes adapted Canon EF-mount lenses used with a separately available EF-to-RF adapter with electronic communication. Phase-detect systems are known for their speed by measuring and comparing distance and should provide a reliable, accurate system for video production. Additionally, the touchscreen can be used for quickly changing focus and selecting subjects.

REDCODE RAW

The robust REDCODE RAW file format offers versatility without burdensome storage requirements and editing on many NLE systems without transcoding to save time. The KOMODO promises to be among RED's finest with the ability to capture up to 6K at 40 fps using the powerful 16-bit REDCODE RAW format. RED has simplified compression options, giving users a choice between HQ, MQ, and LQ, each varying compression from low to high, respectively. Having these choices allows users to choose the best option for each shoot and whether to prioritize data rate or image quality. REDCODE RAW is supported for 5K up to 48 fps, 4K up to 60 fps, and 2K up to 120 fps and will deliver the greatest possible flexibility in post-production. Those looking to use a more conventional format can record natively in Apple ProRes 422 HQ and standard 422 with DCI 4K up to 60 fps or DCI 2K up to 120 fps.

CFast Recording

Capture at rates up to 280 MB/s on RED PRO or qualified third-party CFast 2.0 cards.

REDCODE Options

• HQ is perfect for VFX, extremely detailed scenes, and capturing stills from motion
• MQ is great for cinema and high-end TV projects
• LQ is ideal for TV, online content, documentaries, interviews, and long takes

Apple ProRes Formats

For proxy files or quicker turnaround times than raw files, Apple ProRes can be recorded at 4K and 2K resolutions at rates up to 120 fps (2K).

Color Management

Supports 3D LUTs and RED color science.