Komodo, which is the new camera from RED, turned out to be a hot topic among filmmakers. This RED’s most affordable camera, which hasn’t been announced yet, continues to accumulate some substantial amount of curiosity. Read below our assumptions regarding its specs, price, and purposes.

RED’s most affordable camera

To get some valid information regarding the Komodo, we dug the REDuser discussion, which contains a lot of suggestions and hints given by RED’s president, Jarred Land. We assembled those pieces of information to put together a list that describes the Komodo in maximum accuracy.

RED Komodo specs and details (assumptions only)

These are our assumptions, although we know that “Assumption is the mother of all fuckups” (one of the Navy Seals mantras):

1. The Komodo has already shot a feature (not 6 Underground, but Let Them All Talk).
2. 6K resolution.
3. Super 35 sensor and beyond (Not a full-frame).
4. R3D files (REDCODE RAW codec).
5. Hydrogen phone can be attached and used as a screen.
6. Completely a new 6K sensor.
7. Lens Mount = Integrated Canon RF.
8. Recording Media = CFAST 2.0.
9. Camera control via integrated LCD.
10. There is no compatibility with DSMC2 monitors.
11. The Komodo can be wirelessly controlled from any smartphone.
12. No option for wireless video feed on smartphones (even on Hydrogen).
13. Not a high frame rate camera (maximum 60 FPS).
14. Size: 4 x 4 inches
15. Weight: 2 pounds
16. Price: ~$4,500

Komodo vs. DSMC2

The Komodo seems like another option for filmmakers who seek the RED look and codec without breaking the bank. The big question is, why would you spend $22k on a 5k Dragon kit or even $27k on a 5k Gemini kit if the Komodo grants you 6k R3D for only $5,000?

That’s a very valid question that has been asked by one of REDuser users.

Let’s quote Jarred’s answer: “It’s a good question.. and in one way it’s easy to answer and another way it’s not. It all depends on what you are shooting. All the DSMC2 cameras are full capability cameras… full connection options ( if you want them), modularity, features, and more horsepower. For the film guys still around, It’s kind of like comparing an ARRI 435 to an ARRI 235. The ARRI 235 is an awesome little camera… And it could very well film a feature. But that’s not what it was designed to do, and almost every higher-end production that used the 235 used it to compliment a big brother camera.. the LT or 435, etc., mostly for the size. The 435 and 235 are good examples as well because of the frame rate limitations… The Dragon-X will beat Komodo in framerates. But the Komodo Size… as small as DSMC2 is… opens up a whole different world. And the Komodo does do some things that the DSMC2 cameras can’t.. but again, in a complementary fashion.

The 435 and 235 are good examples as well because of the frame rate limitations… The Dragon-X will beat Komodo in framerates. But the Komodo Size… as small as DSMC2 is… opens up a whole different world

Jarred Land – RED’s President

Of course… you can shoot an entire feature on Komodo if it fits in the application… Soderbergh just did. That’s why its an interesting discussion… it really depends on what you are shooting and what you need from your camera. As I said before… I don’t think Komodo should be anyone’s first camera. The lower price point just throws it down there in that group but that really isn’t the motivation for why we built Komodo. It was designed to fill a void at the highest end of production, but the price is going to open it up to a whole new market that may look at it differently. It will be interesting what the ratio turns out to be”.

I don’t think Komodo should be anyone’s first camera… It was designed to fill a void at the highest end of production

Jarred Land – RED’s President

Final thoughts

It seems that the Komodo is a complimentary cinematography option to the DSMC2. However, if this model will succeed, it might be used as the primary camera on set. Take, for instance, the ALEXA Mini. ARRI invented and developed the Mini to allow the compact form factors for drones and gimbals. However, the ALEXA Mini was well suited for many applications and thus many productions have utilized and adopted the Mini as their primary camera. ARRI didn’t expect that, but this is what happened. Nevertheless, the rest of the ALEXA cameras were not cannibalized by the Mini, which underwent further development to create the Mini LF.

Time will tell if the RED Komodo will also be further developed to meet large format capabilities. Although RED had its RAVEN, we do hope that the Komodo will live longer and with further development to help creators to tell their stories.