KOMODO
ON SET
PRODUCTIONS ALL AROUND THE GLOBE ARE UNLEASHING KOMODO AS AN A-CAM, CRASH CAM, SHOOTING AERIALS, REMOTE SYSTEMS AND MORE. CAPTURING SHOTS NEVER THOUGHT POSSIBLE.
“For Transformers: Rise of the Beasts, RVRD designed and manufactured the Cybertron, a high-velocity heavy-lift FPV drone built around the compact yet powerful KOMODO. The lightweight 6K camera allowed us to equip the drone with larger PL lenses and full remote focus iris, meeting DOP Enrique Chediak’s wishes. RED’s innovative technology, with a smaller form factor and high-resolution cameras, simplified aerial and action cinematography, enabling custom products to meet the highest standards. The KOMODO consistently delivered for us while flying on Transformers in demanding conditions.”
_ DEREK HEIDT, AERIAL CINEMATOGRAPHER AT REVERED CINEMA
“Our entire 22-minute action oner on EXTRACTION 2 was all shot on a KOMODO. And I made some very cool mini remote heads on a stick and a different rig held with one hand, and another rig held with two hands that has an electromagnetic attachment that attaches and detaches to be able to continue our oner and not cut. Fun! I don’t know what other cameras would have given us what the KOMODO did.”
_ Greg Baldi, Director of Photography
“The RED KOMODO delivered beyond our expectations, a very small camera body with amazing versatility. I have become a huge fan of it.”
_ David Lanzenberg, Cinematographer
“We were more than happy with the data output and its compatibility with our main production cameras. It was perfect for shooting on our miniature set and we used it extensively on lightweight stabilized rigs, where its small size and light weight was a distinct asset when shooting in narrow corridors or when used with Trinity and Steadicam rigs. The very small, high quality and light-weight camera proved to be a very valuable asset in the making of the film.”
_ John Seale, ASC, ACS
“KOMODO opens the physics of what is possible. The better power-to-weight ratio of the drone allows you to plot longer flights and more complex maneuvers all with a cine-lens and camera.”
_ Patrick Weir, Aerial Director
“The KOMODO was totally crucial to getting our shots! That size and quality matched with a global shutter seemed like it was designed just for Hustle. I put it on a Ronin S and made a super-compact gimbal we could run and jump with easily. We also used it handheld, on rigs and in tight spots.”
_ ZAK MULLIGAN, CINEMATOGRAPHER
“We loved the KOMODO,” says Massaccesi. “It’s such a small body you can place it anywhere. We used it a lot in vehicles. On a movie like this with lots of fast motion, gunfire and explosions, you want the action to be as hard and as high resolution as possible. The global shutter eliminates that rubber motion you get from cameras with conventional shutter. It’s a terrific camera.”
_ Daniele Massaccesi, Matrix: Resurrections Co-Cinematographer
“KOMODO is a great little camera,” Braham says. “There are shots in the movie we could only get with something that small that comes with high-res imagery.”
_ Henry Braham, BSC
“When Jarred talked to us about what was coming next, Markus and I sort of both rubbed our hands together greedily, and we couldn’t wait. A 6K camera that’s about the size of a tissue box is hard to believe…. And we were about to go shoot stuff that quite literally had never been shot in the history of cinema before.”
_ Rawson Marshall Thurber, Director
ADDITIONAL PRODUCTIONS
WITH KOMODO ON-SET