Camera by camera
RED KOMODO-X export settings
for client review.
The Komodo-X records R3D up to 6K and internal ProRes up to 4444 XQ. Here is which of those files your client can play, where, and the review export sized to what you actually shot.
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By uncompressed.io · Updated September 2026
What the camera records
R3D up to 6K,
and two ProRes families.
RED’s spec page for the Komodo-X lists a 19.9 MP Super 35 global shutter sensor with an effective 6144 x 3240 frame. Everything the client will ever see starts as one of the files below.
6144 x 3240
Effective 6K 17:9
Sensor area 27.03 mm x 14.26 mm
80 fps
Top rate at 6K
96 fps at 5K, 120 fps at 4K
240 fps
Top rate at 2K
2048 x 1080, 17:9
16.5+
Stops of dynamic range
As RED states it
Source: RED, KOMODO-X Operation Guide, Technical Specifications, docs.red.com, read 19 September 2026. Audio is 24-bit 48 kHz; media is CFexpress Type B, up to 560 MB/s. RED's spec page does not give per-quality data rates here, so none are quoted.
Two things matter for review. ProRes stops at 4K on this body, so the 5K and 6K frame sizes exist only as R3D. And the grading master is the R3D: it keeps the RAW negative, and RED lists IPP2 with 3D LUT and CDL support on this body for building the look. Choose the REDCODE quality your cards and schedule allow, and treat HQ as the setting for jobs where the grade carries the picture. Internal ProRes is the choice when the edit needs to start without a RAW decode step.
Where each file plays
Which files your client can open,
and which need an export.
A browser link plays the review export. The macOS app plays some camera originals. Two of the Komodo-X formats fit neither, and those are the ones people send by mistake.
The macOS app plays ProRes up to 8K 4:2:2 HQ at 60 fps. No RAW format and no ProRes plays in a web browser through us.
Supported camera originals and Vault playback use the compatible macOS app; they are not universally playable in web browsers. R3D decode in the app is hardware-dependent, and the Komodo-X can shoot frame sizes and rates that ask a lot of a laptop, so test a short clip on the recipient’s Mac before the real session. The R3D remote review guide covers that path in full. If you recorded ProRes 4444 or 4444 XQ, you have two routes: send the matching R3D if you also have it, or export the HEVC review file below.
The review export
Size it to the timeline,
not to the sensor.
H.265 Main10 (10-bit), MP4 or MOV, constant frame rate, 2-pass VBR, AAC 320 kbps audio. The row you pick depends on the frame size and frame rate of the timeline you exported, not on what the camera captured.
uncompressed.io recommended ranges. One starting number: 80 Mbps HEVC 10-bit covers 1080p through 4K. Calm frames such as interviews need 40 to 50; busy frames such as rain, water, foliage, heavy grain or fast pans need 100 to 120.
High frame rates are where Komodo-X exports go wrong. The camera shoots 6K at 80 fps, 4K at 120 and 2K at 240, but that speed is almost always spent as slow motion inside a 24 or 30 fps timeline. That export is a 24 or 30 fps file and takes the 24/30 row. Only a timeline that runs at 60 fps takes the 60 fps row, where HEVC is the only codec we recommend. Our table stops at 60 fps; we publish no recommendation above it. The 60 fps hosting guide explains the rest.
The grade comes first. A browser shows the file exactly as it was encoded, so apply your grade, or a transform to Rec.709, before you export. A log-looking review file is a note you will get back.
Browser playback uses your uploaded export without another platform re-encode. Codec, device and connection requirements still apply. Each film plays from one file with no lower-quality rendition, so a slow connection buffers rather than dropping resolution. There is no guarantee of identical colour or smooth playback on every device. For comparison, Vimeo’s help center lists a 22 Mbps maximum for 4K H.264, 16 Mbps for 4K HDR/HEVC and 7 Mbps for 1080p at 60 fps. Free export presets for DaVinci Resolve, Premiere Pro, Media Encoder and Compressor are on the NLE page.
Card to client
From the CFexpress card
to the notes in your timeline.
Offload and grade
Copy the R3D or ProRes clips off the card, conform to your delivery frame rate, and apply the grade or a Rec.709 transform.
Export and upload
Export HEVC 10-bit at the row that matches your timeline. Upload it, or the R3D for Mac review. Any file up to 5 TB, and uploads resume.
Share one link
The link is the access, with an optional password per video. Clients need no account. Original downloads stay off until you switch them on.
Pull notes into the NLE
Comments at the timecode, drawings and red or green approvals come back as markers in Resolve, Premiere Pro or Final Cut Pro.
When the next cut is ready, replace the file: the link, views, settings, notes and approvals stay in place, so the client never chases a new URL.
When this is the wrong tool
Questions
Frequently asked
Can my client play Komodo-X ProRes 4444 XQ in the macOS app?
No. The macOS app's stated ProRes ceiling is 8K 4:2:2 HQ at 60 fps, so ProRes 4444 and 4444 XQ clips are outside it, and no ProRes plays in a web browser through us. Send the R3D to the app, or export an HEVC 10-bit review file for the browser link.
I shot 6K at 80 fps or 2K at 240 fps. What frame rate do I export?
Export at the frame rate of the timeline you conformed to. A 240 fps clip played back as slow motion in a 24 fps timeline is a 24 fps export, and it takes the 24/30 row of the bitrate table. Only a timeline that really runs at 60 fps needs the 60 fps row.
Should the review file be 6K or 4K?
4K is the safer default: it covers what most client screens show and sits in a row where both H.264 and HEVC figures exist. Export 6K only when the client needs to judge detail at full frame size, use HEVC 10-bit at up to about 120 Mbps, and test a short clip on their device first.
Can a browser play R3D straight off the CFexpress card?
No. No RAW format plays in a web browser through us. The browser link needs an H.264, HEVC or AV1 export in MP4 or MOV. The R3D itself plays in the compatible macOS app.
Does the review file carry my IPP2 look?
Only if you apply it before export. RED lists IPP2 with 3D LUT and CDL support on the Komodo-X, but a browser shows the file exactly as it was encoded. Bake the grade or the Rec.709 transform into the export, or the client sees flat, log-looking pictures.
Send the Komodo-X cut, not a softer copy of it
Upload your HEVC review export for the browser link, or the R3D for the macOS app. Start free with 5 GB, and move to a paid plan when the job needs more room.
Sources
- 1.KOMODO-X Operation Guide, Technical Specifications (docs.red.com) (sensor, resolutions, frame rates, REDCODE and ProRes options, media, IPP2; read 19 September 2026)
- 2.Guidelines for determining playback resolution (Vimeo Help Center) (4K H.264 maximum 22 Mbps, 4K HDR/HEVC 16 Mbps, 1080p 60fps 7 Mbps; read 19 September 2026)