RED Komodo 6K: Why It’s Still Such a Great Camera
RED Komodo 6K rigged out in Bright Tangerine Expert Kit with Sigma Art 18-35
The RED Komodo 6K is one of those cameras that really hits the sweet spot. It packs RED’s legendary image quality into a small cube body, it’s modular enough to go from a stripped-down crash cam to a fully built cinema rig, and it does it all without costing what you’d normally expect for a RED. It’s not perfect, but it’s definitely one of my favorite cameras to use, and I think it stands out compared to other options around its price point.
This post is going to break down the specs, talk about why it’s such a flexible camera, share my own thoughts from using it, and also give some info on how you can rent one if you’re in the Indianapolis area.
The Specs
Let’s start with the technical side because this is where the Komodo really earns its place. At the core of the camera is a 19.9 megapixel Super 35 global shutter CMOS sensor. The global shutter is a big deal because it completely eliminates rolling shutter artifacts. No more skewed verticals, no weird jello effect on quick pans, and no wobble when you stabilize footage in post. It records 6K footage at up to 6144 by 3240 resolution and pulls over 16 stops of dynamic range out of the sensor.
Frame rates are respectable, though not unlimited. You can record up to 40 frames per second at 6K full frame, 50 frames per second at 6K in the wider 2.4:1 aspect, 48 frames per second in 5K, and 60 frames per second in 4K. Drop down to 2K, and you can push it to 120 frames per second. These are solid numbers for most production work, but if you’re used to cameras that shoot super high frame rates at full resolution, it’s something to keep in mind.
Angelbird 512 GB AV PRO CFast Cards
The camera records to CFast 2.0 media, with maximum data rates up to 280 megabytes per second. For formats, you get REDCODE RAW at HQ, MQ, and LQ options depending on your space and quality needs, and it also records ProRes in 422HQ, 422, and LT flavors up to 4K.
The Komodo uses Canon’s RF mount, which is a smart move. It lets you adapt to Canon EF lenses easily, and there are plenty of options for adapting to PL, Leica, and other mounts. Out of the box, you get SDI out, a 9-pin EXT port, and a DC power input. It doesn’t have a huge number of built-in connections, but it’s designed to expand with accessories. The camera body itself weighs about two pounds, which is crazy considering what it can do.
Canon BP battery
Powering the camera is simple but effective. It takes dual Canon BP batteries, which means you can hot-swap one while the other is still running. This makes it much easier to keep shooting without downtime.
Modularity and Build Options
RED Komodo built with Bright Tangerine Expert Kit and Atlas Orion 100mm Lens
One of my favorite things about the Komodo is just how modular it is. I often build it up with the Bright Tangerine Expert kit, which gives me all the mounting points, rails, and accessories I need for a full production build. But the beauty of the camera is that I can strip that all away and be left with this tiny cube that’s perfect for gimbals, cars, or even body mounting.
That cube form factor is really underrated. Compared to cameras like the FX6 or C70, which are longer and bulkier, the Komodo just makes sense for rigging. You can mount it in tight spots where other cameras simply won’t fit. For me, this flexibility makes it one of the most versatile bodies I’ve used.
Image Quality
Podcast shot with the RED Komodo with the Sigma ART 18-35mm lens
Now, let’s talk about the image, because at the end of the day, that’s what really matters. The Komodo produces an amazing image, and to me, it’s better than what you get out of other cameras in the same price range.
The highlight rolloff in particular looks beautiful. It doesn’t clip in a harsh way like some cameras do, and because it’s RAW, you can actually adjust how the rolloff behaves in post. It’s not baked in. That flexibility makes it so much easier to get the look you want.
The colors out of the Komodo are another strong point. They feel like they have more depth and pull to them compared to the Sony FX6 or Canon C70. Skin tones look flattering straight out of camera, and when you take it into grading, you can push and pull the image without it falling apart. RED has always been known for its color science, and the Komodo lives up to that reputation.
Audio and I/O
RED Komodo 6K audio input and output ports
Audio is one of the weaker points of the camera. There’s a 3.5mm input and scratch audio, but I wouldn’t rely on it for serious work. Personally, I always run my sound through a separate recorder, the Sound Devices MixPre 3 II. That way I know I’m getting clean, professional audio while still having the scratch track in the Komodo for syncing.
RED Komodo 6K rear I/O with (from left to right) a 9-pin EXT port, SDI out, and DC in
On the I/O side, it’s also a little limited. You’ve got SDI out, a 9-pin EXT port, and DC in. That’s not much, but there are great solutions from Wooden Camera and Mutiny that expand the camera’s connections. They add things like timecode, additional power outputs, and other ports that production crews often need.
Power, NDs, and Stabilization
The dual battery slots are something I love. Hot-swapping batteries without powering the camera down is such a lifesaver, especially on busy shoots where time matters.
Kippertie Revolva RF to PL mount with S cartridge ND filters
There are no internal NDs, which can be a drawback. I solve this by using the Kippertie Revolva RF-to-PL mount, which gives me built-in ND control while also adapting to PL glass. It’s a clean solution that feels like it should have been part of the camera to begin with.
There’s also no IBIS in the camera. But honestly, because it’s a global shutter sensor, I find that it stabilizes better than most cameras anyway. Warp stabilizer in post works way better on Komodo footage than on rolling shutter cameras. And because it records gyro data, you can use software like Gyroflow to stabilize your footage with incredible results.
Autofocus and Screen
Autofocus is there, but it’s not amazing. It works, but compared to the FX6 or C70, it’s not in the same league. I’d call it usable in a pinch, but I wouldn’t rely on it for serious autofocus needs.
The screen is another weak point. It’s small, and if you’ve got a top handle mounted, it can get in the way. It’s a touchscreen, which is nice in theory, but the response time is pretty sluggish. I find myself using the buttons more often than the touch interface.
How It Compares to Other Cameras
Sony FX6
At its price point, the Komodo often gets compared to the Sony FX6 and the Canon C70. Both of those cameras are strong in their own right. The FX6 has fantastic autofocus and better low-light performance. The C70 has built-in ND filters and Canon’s Dual Gain Output sensor tech, which helps it handle noise really well.
But for me, the Komodo wins in image quality. The highlight rolloff, the colors, and the flexibility in post just look better. The cube form factor also makes it a better tool when you need to rig creatively. So while it might not be as convenient out of the box as the FX6 or C70, the image and form factor make it the standout.
Renting the Komodo 6K in Indianapolis
If you’re in Indianapolis and want to try out the Komodo, the good news is you can rent a kit locally. Renting is the best way to see if it fits your workflow, especially if you want to test different builds. You can rig it up with accessories for a full production setup or strip it down to the bare cube for a gimbal or car rig.
It’s also a great option if you need RED-level image quality for a project but don’t want to commit to buying. Whether you’re shooting a commercial, a short film, or a music video, renting a Komodo gives you that high-end RED look without the long-term investment.
Final Thoughts
The RED Komodo 6K is one of the most exciting cameras in its price range. It’s not perfect. Low light performance, limited I/O, and the small screen all count as drawbacks. But the strengths outweigh the weaknesses. The modular cube design makes it one of the most versatile cameras for rigging. The global shutter sensor delivers footage that stabilizes beautifully and avoids rolling shutter problems. The highlight rolloff and color science are fantastic, giving you an image that looks flattering right out of camera and has tons of flexibility in post.
If you’re in Indianapolis, I’d recommend renting the Komodo to see how it feels for yourself. Chances are, once you shoot with it, you’ll understand why so many filmmakers love this little cube. It might not replace every camera out there, but for the jobs it’s designed for, it absolutely shines.
