Despite its smallish size, the RED Komodo is a giant as a result of its feature capacity. The love for the RED is massive even though some people might not be ready to see it as the “King”; there are, however, a lot of things to admire about this little “Dynamite” that we have no doubts will make their way into future releases from stables of Canon, Sony, and Panasonic that are certain to make shooting with it a joyful experience.
For most film gear enthusiasts, RED gets a lot of guff about its user base’s fanatic loyalty, and often, people within our film & video community consider any hype of their products as a form of propaganda. But the truth is, there is really something quite special about this miniature wonder, and you can be certain that this tiny “King” won’t go out on the toilet at 350lbs.
Here are 10 things to love about the RED Komodo.
Actually, the RED Komodo is a bit of an unusual camera.
The RED Komodo’s Key Features include:
- 19.9MP Super35 Global Shutter CMOS
- Support of Canon RF Lens & ARRI CFast 2.0
- 16+ Stops Dynamic Range
- Recording of up to 6K40, 5K48, 4K60 & 2K120 Recording
- REDCODE RAW HQ/MQ/LQ & Apple ProRes
- Integrated 2.9″ 1440 x 1440 Touchscreen
- Wireless Control & Preview via Wi-Fi
At a time when so many cameras with eye-catching features are coming into the market, most might be attracted to something more like the Sony FX6. Particularly since the FX6 weighs less in comparison to others in its class, has XLR inputs, a pivoting monitor, and has a full-frame sensor that can record in the moonlight.
If you intend to film the best footage possible as quickly and tirelessly as is possible to meet the challenging clients’ demands; you will certainly need the RED Komodo as a manageable camera that can help you achieve the best footage possible while still providing you with sufficient latitude in post-production.
If all that has been said doesn’t convince you about how awesome the RED Komodo is, then maybe these 10 things just might do it for you.
1. SWAPPABLE BATTERIES
This is feature is clearly one to endear the RED even more to its fanatical fans. The swappable battery feature allows you to be able to change its batteries while working without having to reboot the camera. The concept is a truly unique one for RED and a design that should be copied by every camera manufacturer. With those two hot-swappable battery slots, you can run your RED Komodo continuously without ever having to restart the camera.
RED cameras are very well known to have slow boot-up times, and even though this has been much improved in the RED Komodo, you now have nothing to worry about, because once your camera is switched on, it can remain on for the duration of your shoot.
The camera will run for up to 3 hours with just 2 fully charged Canon BP-955 batteries, which are the small ones; and up to 6 hours should you rather prefer to shoot with 2 BP-975s which are the larger ones.
2. GLOBAL SHUTTER
The RED Komodo comes with a global shutter that reads all the pixels on the sensor at the same time, unlike a rolling shutter sensor, which only reads out the pixels from the sensor top to bottom with relative speed.
What this guarantee is that there is no ‘image wobble’ when shooting handheld, no unbalanced telephone poles when filming out a mobile vehicle, and no abnormal motion artifacts like you can find in some camera comparison of RED Komodo with BMPCC 4K or GH5.
Although this might not sound like a big deal to some critics; Sony and Canon have gotten quite good at eliminating those annoying artifacts, and there are software solutions for the very noticeable ones, however, shooting with a global shutter makes it seem and feel like you're shooting on film, and you'll notice that post stabilization is much cleaner and smoother.
3. RED RAW
The RED Raw is the first codec designed by RED for making a video in raw and it has evolved to become one of the best raw codecs for clarity, file size, color, and metadata.
In comparison to BRAW or ProRes Raw, RED Raw is simply out of this world. In fact, other competitors have attempted to find a way around their patented technology, but then as with anything that is a copy; the original is always the best.
It’s fully integrated into Premiere Pro, FCPx, Davinci Resolve, and can be completely controlled in post-production to affect every imaginable aspect of the image. As long as you use the correct exposure techniques to properly expose your sensor.
4. THE SIZE
The Komodo is a 4x4x4 inch cube in design. And although you still need to equip it with a grip, battery, lens, and a monitor; it is still a very manageable lightweight size, thus making it easier to pack, lighter to carry, mountable on anything or anywhere, and you can fit it out with whatever you want.
5. PUSHING THE IMAGE MORE
Returning to the matter of the codec and the sensor, the quality of the images that the Komodo produces is of so high a standard that it is easy to push the grade way beyond what you would expect from a camera at this price point.
In comparison, other camera clips will start to disintegrate much sooner than anything you shoot from the RED Komodo camera, making difficult grading and corrections a piece of cake.