The award-winning Red Komodo has 6K Raw recording, a global shutter and, finally, phase detection autofocus THE AF RED CINEMAWINNER Armed with an RF mount Canon lens and ND filter, the Red Komodo (above) is a stunning performer WORDS ADAM DUCKWORTH FOCUS ON
R ed really has got it very right with its affordable Komodo 6K. We knew that fromwhen we first got our hands on an early version with a prototype firmware – it was a stunner. And now it has later firmware that allows phase detection autofocus with Canon RF lenses, or EF lenses with an adapter, so it’s only got better.
And, perhaps best of all, it has zero rolling shutter issues that blight every other camera in its price range. You get no wobbly lines in footage from the Komodo, as it has a global shutter, so fast whip pans are not a problem. Compared to other, far pricier Reds in the older DSMC2 range, it actually has more technology. The earlier Reds focus on image
It was an obvious winner in the cinema category of this year’s Pro Moviemaker Gear of the Year Awards, as readers voted for it in huge numbers. It’s a smaller and more attainable way into the Red ecosystem, but doesn’t compromise on quality. It uses the legendary R3D Redcode Raw workflow, to fit in seamlessly with more expensive Red camera production pipelines.
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