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RED DIGITAL CINEMA KOMODO 6K Digital Cinema Camera (Canon RF)

BH #REKOMB • MFR #710-0333
RED DIGITAL CINEMA KOMODO 6K Digital Cinema Camera (Canon RF)
Key Features
  • 19.9MP Super35 Global Shutter CMOS
  • Compact, 2.1 lb All-in-One Design
  • Canon RF Lens & ARRI CFast 2.0 Support
  • 16+ Stops Dynamic Range
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 ultra-compact, all-in-one design that weighs just 2.1 lb 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.
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RED DIGITAL CINEMA Komodo RF-Mount Overview

  • 1Description
  • 2Firmware Update v.1.5.5
  • 36K S35 Sensor
  • 4Global Shutter
  • 5Compact Form, Versatile Power
  • 6CFast Recording
  • 7REDCODE RAW
  • 8REDCODE Options
  • 9Apple ProRes Formats
  • 10Color Management
  • 11Touchscreen Display
By B&H Photo's

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 ultra-compact, all-in-one design that weighs just 2.1 lb 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.

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 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.

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.

Getting back to image quality, 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.

Being a complete all-in-one camera solution, the KOMODO features an array of necessary ports and connections. This includes integrated stereo microphones and a 3.5mm input for audio, genlock/timecode/GPIO/RS232 support via a 9-pin EXT port, and a DC power input. A 12G-SDI port will support up to DCI 4K at 60 fps in 10-bit 4:2:2 quality for dedicated monitoring solutions. The rear of the camera also sports dual Canon BP-9xx series battery slots, which can be hot-swapped for practically unlimited recording in the field.

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, Mini World Travel Adapter Kit, and a Canon RF-to-EF mechanical adapter.

Firmware Update v.1.5.5
  • Fixed playback stuttering at high frame rates, German SLA causing a camera shutdown, and RFB raw metering in 6K full frame
  • Improved LCD sync issues in playback with anamorphic formats
  • Improved general stability
6K S35 Sensor
6K Super35 19.9MP CMOS sensor with a dynamic range of 16+ stops and a resolution of 6144 x 3160
Global Shutter
The KOMODO 6K's global shutter produces crisp images while reducing motion artifacts
Compact Form, Versatile Power
Weighing just over 2 lb, the KOMODO 6K's power options include using two lightweight Canon BP-9 batteries, a larger battery, or an AC power supply
CFast Recording
Capture at rates up to 280 MB/s on RED PRO or qualified third-party CFast 2.0 cards
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
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
Touchscreen Display
Integrated 2.9" touchscreen LCD screen for video preview and camera control
UPC: 810016941491

RED DIGITAL CINEMA Komodo RF-Mount Specs

Imaging
Lens MountCanon RF
Included Lens Mount AdapterCanon EF
Lens CommunicationYes, with Autofocus Support
Sensor ResolutionEffective: 19.9 Megapixel (6144 x 3240)
Sensor Type27.03 x 14.26 mm (Super35) CMOS
Image StabilizationNone
Built-In ND FilterNone
Capture TypeStills & Video
Exposure Control
Shutter TypeElectronic Global Shutter
Shutter Speed1/8000 to 1 Second
ISO Sensitivity250 to 12,800
Shutter Angle0 to 360°
Advertised Dynamic Range16 Stops
White Balance1700 to 10,000K
Internal Recording ModesProRes 422/ProRes 422 HQ
4096 x 2160 up to 59.94 fps
ProRes 422
2048 x 1080 up to 119.88 fps
REDCODE RAW
6144 x 3240 up to 40 fps [280 Mb/s]
5120 x 2700 up to 48.00 fps [280 Mb/s]
4096 x 2160 up to 59.94 fps [280 Mb/s]
2048 x 1080 up to 119.88 fps [280 Mb/s]
External Recording Modes4:2:2 10-Bit via SDI/BNC
4096 x 2160 at 23.98/24.00/25/29.97/50/59.94 fps
3840 x 2160 at 23.98/24.00/25/29.97/50/59.94 fps
2048 x 1080 at 23.98/24.00/25/29.97/50/59.94 fps
1920 x 1080p at 23.98/24.00/25/29.97/50/59.94 fps
Sensor Crop ModesSuper35 / APS-C
Sensor Crop While Recording5K (5120 x 2700) in 17:9 When Recording in Raw
4K (4096 x 2160) in 17:9 When Recording in Raw
2K (2048 x 1080) in 17:9 When Recording in Raw
Built-In Microphone TypeStereo
Audio Recording2-Channel 24-Bit 48 kHz
IP StreamingNone
Still Image Capture
Aspect Ratio16:9
Interface
Media/Memory Card SlotSingle Slot: CFast (CFast 2.0)
Video I/O1 x BNC (12G-SDI) Output
Audio I/O1 x 1/8" / 3.5 mm TRS Stereo Microphone Input
Power I/O1 x LEMO 2-Pin (7 to 17 VDC) Input
Other I/O1 x 9-Pin (Genlock, GPI, RS-232, Timecode)
Wireless2.4 / 5 GHz Wi-Fi 5 (802.11ac) Video Output, Control
Global Positioning (GPS, GLONASS, etc.)None
Monitor
Size2.9"
Resolution1440 x 1440
Display TypeFixed Touchscreen LCD
Viewfinder
TypeOptional, Not Included
Focus
Focus TypeAuto and Manual Focus
Focus ModeAutomatic, Manual Focus
Environmental
Operating Temperature32 to 104°F / 0 to 40°C
Storage Temperature-4 to 122°F / -20 to 50°C
Storage Humidity0 to 85% (Non-Condensing)
General
Battery TypeCanon BP-9 Series
Power Consumption45 W
Tripod Mounting Thread1/4"-20 Female (Bottom)
3/8"-16 Female (Bottom)
Netflix ApprovedYes
Material of ConstructionAluminum
Dimensions (W x H x D)4 x 4 x 4" / 10.2 x 10.2 x 10.2 cm
Weight2.1 lb / 1 kg
Packaging Info
Package Weight4.9 lb
Box Dimensions (LxWxH)12 x 8.6 x 5.7"

RED DIGITAL CINEMA Komodo RF-Mount Reviews

BEAST

By Sean
Rated 5 out of 5
Date: 2022-11-20

After years of photography we wanted to dive into video and this really has taken our projects to the next level. Fairly easy to navigate and a LOT of fun editing the footage. Wonderful color science.

Better than expected

By Richard
Rated 5 out of 5
Date: 2022-04-25

I thought this camera was going to be really good but it still impressed me. The picture quality is amazing and the traffic light system is amazingly easy to get used to. Editing RED raw is pretty easy and I have no issues at all on my M1 max MacBook Pro. I was surprised how usable the autofocus is with EF lenses and I use the Canon EF to RF adapter with ND to control exposure. The down sides are as expected in startup time, audio quality, black shading but in the end it's worth it for the image quality. I still grab my C70 for quick run and gun but for a thought out project with the highest quality image I'll use the Komodo with my Sound Designs MixPre 3 MK II and I'm happy with the results. I'm using the 7 Atomos Shinobi monitor with both cameras and absolutely love it.

Awesome camera

By Jamale
Rated 5 out of 5
Date: 2022-04-24

The video which comes out of it is simply amazing to look at. Worth it.

RED all the way

By Chase
Rated 5 out of 5
Date: 2022-02-21

Love the small form factor of this camera. The image pairs well with my RED Epic Dragon. I have been using RED cameras for 10 years now and absolutely recommend to anyone wanting durability, versatility and quality.

Malfunctioned outdoors in the cold

By Dipanka
Rated 3 out of 5
Date: 2022-02-08

I traveled to videograph Snowy Owls in the wild at -16 C (around 3F) in Ontario, Canada. The camera would not record (error writing to media card) and prompted me to secure format the card. After formatting 2 times, and calibrating the camera 2 times in the cold, it recorded short periods erratically. It randomly stopped recording after a few seconds. The trip was a disaster. I bought the camera after reading media reports that it has been tested in extremely harsh winter conditions by Matt Tremblay from RED. However it is always prudent to read the fine print and not rely on media reports or advertisements. RED support informed me that the recommended operating range is only 0 -40 C (32 - 104 F). Which means the Komodo would be pretty much useless outdoors all through the Canadian winter. Something to consider before you buy if you ever wish to shoot in cold weather.

Magical

By Anthony
Rated 5 out of 5
Date: 2022-01-25

The Red Komodo was sculpted by God himself. The first time I shot in Red Raw was like listening to the Beatles for the first time. It was well worth the wait! 10/10 would recommend this beauty.

Amazing image quality but a few design problems.

By Matthew
Rated 5 out of 5
Date: 2022-08-23

I'm a DP based in Boston and I bought this camera for higher end shoots, especially independent films and commercials. I've owned it a few months now and thought I would give my impressions so far. I don't own any Canon mount lenses so have not tried the autofocus and I seldom shoot slow motion so the cameras limited slow motion capabilities have not been a factor for me. There is no such thing as a perfect camera. They all have their advantages and disadvantages. Here are my impressions so far. Advantages: Superb image quality. The image quality produced by this camera is amazing. It is comparable to far more expensive digital cinema cameras. Pair this with a good set of cinema lenses and a good DP could shoot a multimillion dollar feature with no compromise in image quality. Shoots Redcode Raw and Pro-Res: This camera shoots 6k 16 bit Redcode Raw. Most cameras in this price range offer 10 bit Pro-Res at best. 16 Bit Redcode Raw is perfect for color grading for 4k with HDR or SDR completion. It is the same codec the high end Red cameras use. The camera offers a huge dynamic range. You can also shoot 4k Pro-Res 10 bit if your postproduction workflow cannot handle Redcode Raw. Super 35 6k sensor with choice of aspect ratios: I know shooting with full frame sensors is all the rage. Full frame forces you to use longer focal length lenses to get the same shot thereby reducing depth of field. However I prefer Super 35. This is main reason for this is that most full frame lenses (even expensive cine lenses) have some brightness falloff toward the edges of the frame especially wide open. This varies with the lens but always seems to be there when shooting full frame, with wide angle lenses the worst offenders. You have to stop down by varying degrees to get rid of it. With super 35 the falloff is usually cropped out and you are using only the best part of the lens and can shoot wide open and get a evenly exposed image without worry. The Komodo sensor is actually a 6k 17x9 sensor and produces a slightly wider image than 16x9. There is a choice of 4 aspect ratios with spherical lenses with 16x9 cropping the sides of the sensor slightly and 2:1 and 2.40:1 cropping the top and bottom. There are also many Anamorphic settings so you should be able to use any Anamorphic lens you can adapt to the camera. You can also always view the proper aspect ratio on the little viewing screen and through the SDI output. This is wonderful. To shoot 6k you have to use Redcode Raw. Pro-Res gives a max resolution of 4k (scaled down from the full sensor). Other lower resolutions in Redcode Raw and Pro-Res crop the sensor but this is probably preferable to scaling. I recommend using Redcode Raw 6k whenever possible to get the best possible image from the camera. Low light performance seems quite good. The sensors native ISO is 800 and I have used everything from 250-2500 ISO with pretty much identical results. I have not tried really high ISOs. Global Shutter: This is one area where the Komodo is really superior to the competition. The global shutter exposes the whole frame at the same time. This produces the smoothest, most natural motion I have seen in any camera. There is no skew, extra horizontal movement, bent lines, flash banding, distorted cars going by in the background, bent helicopter blades etc. Everything just looks right. There are only 2 cameras listed on the B+H website with global shutter this one and the Z Cam. I can't imagine why every camera doesn't use it. It is noticeably superior to rolling shutter. Canon RF Mount. The Komodo comes in Canon RF mount which is one of the new short flange mounts developed for mirrorless cameras. This means that most older SLR lenses can easily be adapted to the Komodo. This is great as many of these older SLR lenses are wonderful and affordable. It comes with a Canon EF mount adapter which I have not tried since I have no EF mount lenses. I do have Nikon lenses and tried pretty much every Nikon mount adapter on the market but they all got the flange depth wrong. The measured distance was not sharp, with some adapters too short or too long. I finally tried C7 Adapters which let you adjust the flange depth with shims (be sure to order the shims along with the adapter, they don't come with them). These worked great and allowed me to get exactly the right flange depth. Now my Nikons work perfectly. I got one of their PL mount adapters too. They are very well made and one of the few adapters that let you use shims. Small and Light Enough for most Gimbals. The Komodo body weighs about 4 lbs. Add a couple of small batteries and a lens and you are up to 6-8 lbs. This is light enough for many smaller gimbals. I use a DJI RS2 (max load 10 lbs.) with great results. It is great to be able to use a camera of this quality on a fairly inexpensive gimbal. Red Tech Support. I would be remiss not to mention Reds outstanding tech support. I have always reached someone quickly and they have always been very professional and very helpful and really know their cameras well. They even return calls when they say they will. They set an example all other tech support should follow. Disadvantages Considerable Expense in Accessories needed to shoot. The basic Komodo package comes with a AC power supply and RF to EF-mount adapter and that is about it. You will need to buy quite a few accessories to actually use the camera. You will need a EVF eyepiece, a small monitor, a cage, 4 or more batteries and charger, a top handle. These things will add about $3,000.00 or more to the cost of the camera. This is in addition to the usual baseplate, rods. lenses, matte box and tripod you need for any camera of this type. You will also need expensive C fast 2.0 cards (more on this in a moment). That being said, due to it's superb image quality the Komodo is still a excellent value, even with all these extra costs. Expensive Media: The Komodo uses C fast 2.0 cards. While not as expensive and more widely available than the Red Mags used by previous Red cameras, they are far from cheap. The camera also records at very high bit rates (up to 280MBps in HQ mode) in both Redcode Raw and Pro-Res. Although this is great for quality it eats up a lot of media. The cheapest way to go is to use 1TB cards which cost about $700 as of this writing on 8-22-22. A 1TB card gives you 1hr at HQ 1 hr 37 min at MQ and 2 hrs 35min at LQ quality settings. 512g cards give you half the running time at more than half the price. I understand that cards capable of handling these high bit rates are going to cost more than SD cards but this seems excessive. Be sure the cards you use are rated for a continuous write speed of over 280Mbps or are Red approved. You cannot delete clips Coming from Sony and Panasonic cameras this came as a surprise. I even called Red tech support about it and they told me that no Red cameras allow you to delete clips as this is deemed to risky in terms of corrupting the card or deleting something you want to keep. I can understand that. However in actual use this can be a real problem. the Red Komodo is controlled by a touchscreen on top. Other than a hard to find record button on the right side everything is done on the touchscreen including recording. To start recording you touch a red square with the camera letter, A, B, C etc. on it. This red square turns brighter red and the camera records. To stop recording you touch the Red square again. It turns yellow for a second then darker red and the recording stops. The problem is that it is all too easy to touch this and start recording when you are moving the camera around, and all too easy to miss it when you want to stop recording. Either can result in long unwanted clips that you can't delete to recover card space. All you can do is format the card deleting everything. You better have some extra cards handy. A dedicated easy to find record button on the left side would have been a better choice. Limited Audio Capabilities: The Red Komodo has 4 channels of audio, all controlled through the touchscreen. 2 of these channels are dedicated to the internal mics and 2 are for external mics. The only audio input is a stereo mini jack (mic level only, no phantom power, no line input) This mic input is quite noisy at any reasonable recording level. I'm not sure why Red didn't give a camera of this quality a better audio section. My Panasonic UX 90 has a very good audio section with XLR inputs, phantom power, line level etc. and cost under $2,000.00 so it can't cost that much extra. Overall I would recommend recording your audio on a separate recorder. If you are shooting a movie you will be doing this anyway but if you just want to shoot some interviews it can be a inconvenience and extra expense. Only one SDI out, no HDMI. The Komodo only has one SDI out connector and no HDMI. If you want to use a eyepiece and separate monitor you better have one with a loop through or you will need a splitter. You can't use many small monitors because all they have is HDMI connectors, unless you have a converter. Furthermore Red warns that the SDI circuits can be damaged if you don't power on the accessory before connecting the camera. I have been careful about this and it hasn't happened but if it does a non functioning SDI port would render the camera useless. There is no way you are going to be able to frame shots, operate and see focus from the tiny screen on top and there are no other options. Be very careful and follow Reds instructions closely regarding the SDI port. Red should really have provided at least 2 of these and a HDMI port as well. Conclusion: Overall I love the Komodos image quality and can work around the disadvantages. Red should be commended for offering a digital cinema camera of this quality at a reasonable price.

Excellent

By Zachary
Rated 5 out of 5
Date: 2022-07-28

As a director I haven't found the time to film with my own camera as much. On set over the years we mostly fly Arri. I must say though, after trying the Komodo out I had to pick one up! The global shutter reminds me of film, the small size is great for travel, and the skin tones and color have improved over previous Red cameras. The noise "grain" is very natural looking, much like an Alexa. I enjoy having at least one camera I own and can use for smaller personal projects and this fits that bill. In the right hands it can easily project for theatrical and create images just a beautiful as any other cinema camera. It also has more color depth and texture then S1H, C70, FP, Black Magic, ext. I have used all those cameras for personal work and the Komodo is much closer to film and better suited for narrative. Lock in wardrobe, lighting, and story, then watch the Komodo do great things for you. Highly recommend this camera!

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Does the Komodo have variable frame rates? I havne't seen it in any video.
Asked by: Lorenzo
Yes, the RED Komodo has variable frame rates. Depending on the resolution you are shooting in will depend on what frame rates you can select.
Answered by: Peterm
Date published: 2022-02-14

how much card slots are there?

how much card slots are there?
Asked by: Zachariah
Single Slot: CFast (CFast 2.0)
Answered by: hectorm
Date published: 2022-01-09

Does this camera have anamorphic support?

Does this camera have anamorphic support?
Asked by: Maxwell
Not yet
Answered by: German
Date published: 2021-03-31

I see that it records ProRes HQ 4096 x 2160p up ...

I see that it records ProRes HQ 4096 x 2160p up to 60 fps, but can it also record 1920x1080 ProRes HQ internally?
Asked by: Richard
The lowest ProRes resolution you will be able to record is 2K (2048 × 1080) at ProRes 422 HQ and ProRes 422 up to 120 fps.
Answered by: Nicholas
Date published: 2021-03-23

What is the native ISO and ISO range of the ...

What is the native ISO and ISO range of the Komodo?
Asked by: Greg
The base ISO is 800.
Answered by: Greg
Date published: 2022-02-13

Can the Convergent Design Odyssey 7Q+ monitor / ...

Can the Convergent Design Odyssey 7Q+ monitor / Recorder work with the Red Komodo?
Asked by: Clyde
Yes, The SDI output of the RED DIGITAL CINEMA KOMODO 6K Digital Cinema Camera would send a 1080p signal that could be used with any display that supports SDI input like the Odyssey 7Q+. As for recording it would work. But only at 1080p and no RAW support.
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Date published: 2022-02-16

Does the lens mount adapter included with the ...

Does the lens mount adapter included with the body-only configuration support electronic control and lens metadata? Will it work with (EF mount) Zeiss CPs or Xeen Cines?
Asked by: Jay
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can I sync with external recorder via time code?

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Date published: 2020-12-14
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