RED’s Komodo-X just got a new trick up its sleeve. Thanks to a newly developed Nikon lens mount adapter, RED’s compact yet powerful cinema camera now opens the door to an entirely new class of glass. Nikon shooters—this could be great news.
Expanding the Komodo-X Ecosystem
Until now, the Komodo-X ($6,995 USD) has primarily been seen sporting RF-mount lenses, with adapters for EF and PL options allowing cinematographers to mix and match their favorite optics. But Nikon’s legendary F and modern Z mount lenses have long been absent from RED’s ecosystem—until now.
This new Nikon mount adapter is designed to give filmmakers access to Nikon’s vast collection of lenses, from vintage manual focus classics to cutting-edge Z-mount optics. With this update, the Komodo-X gains even more versatility, appealing to Nikon shooters looking to bring their favorite glass into the world of high-end cinema. More lens mount options, in my books at least, is always a good thing.
Check out the Stark Insider in-depth look at the RED Komodo-X here
Why This Matters
- Access to Classic Lenses – Nikon’s manual focus AIS lenses are beloved for their cinematic look. Now, these legendary lenses can be used natively on the Komodo-X.
- Z-Mount Innovation – Nikon’s Z-mount lenses feature cutting-edge optics and ultra-fast autofocus. With proper electronic communication, this could be a game-changer for those using Komodo-X in run-and-gun setups.
- More Affordable Options – While high-end cine glass remains the gold standard, the ability to mount Nikon lenses could make the Komodo-X a more accessible option for filmmakers on a budget.
The Nikon-RED Connection
This new mount option also marks the first significant news to emerge following Nikon’s acquisition of RED. When Nikon acquired RED, speculation swirled about how the two companies would integrate their technologies and expertise. Now, with the introduction of Nikon lens support on the Komodo-X, we are seeing the first tangible result of that partnership.
Could this be just the beginning? With Nikon’s deep optical heritage and RED’s expertise in digital cinema, there may be more in the pipeline. Perhaps we’ll see deeper camera-lens communication, new sensor technologies, or even Nikon-branded cinema cameras built on RED’s foundation. The possibilities are intriguing, and this first move hints at an exciting future for both brands.
One interesting note here: so far it would seem that Nikon is leaving most of RED’s marketing and branding in place. That should came as a relief to many who were fearing a sort of corporatization of the company post-acquisition. I’m a fan so far of this approach. We’ll see how it evoloves.
Read about RED’s journey in cinema technology
Komodo-X Specs & Lens Mount Options
- Sensor: 6K S35 Global Shutter CMOS
- Resolution: Up to 6K at 80fps, 4K at 120fps
- Dynamic Range: 16+ stops
- Recording Format: REDCODE RAW, ProRes
- Lens Mounts: RF (native), EF (via adapter), PL (via adapter), Nikon F (via adapter), Nikon Z (via adapter)
- Autofocus Support: Phase Detection AF (limited to compatible lenses)
- Media: CFexpress Type B
- Weight: Approx. 2.7 lbs (body only)
- MSRP: $6,995 USD
See how the Komodo-X compares to other RED cameras
The Future of Adaptability
RED has long embraced flexibility in lens mounts, and this latest addition reinforces that ethos. With Nikon lenses now in the mix, the Komodo-X becomes an even more attractive option for filmmakers looking to push creative boundaries without being locked into a single brand’s lens ecosystem. Along with the recent price drop (down from $9,995) this seems like an even more appetizing camera. Though, it bears mentioning the competition is fierce these days with the likes of Blackmagic, Canon, Sony, Z Cam and others continually putting downward pressure on the market. And let’s not forget about the smartphone camera that keeps getting better (especially the Apple iPhone!).
For those already invested in Nikon glass, this could be the perfect reason to dive into RED’s world of high-end cinema. And for existing Komodo-X owners, it’s yet another reason why this compact powerhouse continues to defy expectations.
One thing is clear: the era of lens mount exclusivity is fading. And for filmmakers, that’s a very good thing.
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