AWARDS THE WINNERS
CAMERAS: CINEMA
The Red Komodo scoops our cinema camera crown thanks to its performance, price and cool brand GLOBAL PHENOMENON F or the second year in a row, the Red Komodo 6K is the winner in our cinema category. It’s the model
is that they can reduce the dynamic range and ultimate sensitivity of the sensor. Red’s new sensor has over 16 stops of dynamic range, so this is barely an issue. And with ISO going from 250 up to 12,800, with a sweet spot around ISO 800, sensitivity isn’t a problem either. Red managed to coax such a high level of performance out of its sensor thanks to pioneering Raw capture – which it does in a slightly different way to other machines. Some cameras record full-fat Raw in an uncompressed 16-bit format, leading to truly massive file sizes which are pretty much impossible to capture internally. Others record in compressed Raw internally, which is partially debayered in camera. Then
that has allowed independent filmmakers to buy into the brand and own a dream camera that’s all about image quality and a rugged, modular build. One huge selling point of the Komodo is the global shutter, which completely eliminates all the rolling shutter issues bugging every other camera in this price point. It was also the first Red to have a phase-detection autofocus system, enabled by using the new Canon RF lens mount. One of the main reasons more cameras don’t use global shutters
SCREEN TIME The modular design of the Red Komodo is a huge bonus, as it can be stripped down or built up. Its small top screen is a handy tool when you’re out of room to mount a larger monitor
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PRO MOVIEMAKER
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