FAQ

It comes down to your setup:

• 0.35m Right-Angle (most popular): our most popular and most compact cable. Perfect for small, tight setups - like a little monitor sitting right on top of your FX3. Minimal cable, maximum clean, and the easy run-and-gun pick.
• Right-Angle: the plug sits flush against the camera so almost nothing sticks out. Ideal when you want to minimise protruding cable and keep the rig low-profile and tidy.
• Coiled: stretches and springs back as you move. Fantastic for bigger setups and gimbals, where the camera shifts around and you don't want loose cable swinging or dragging.
• 1m Straight: more reach for longer runs - think laptop or capture card to a monitor, or any time the two ends sit further apart.

Yes, more than people expect. A thick, stiff cable hangs off your camera's HDMI port like a lever and stresses the solder joints over time (a common, annoying repair). Our hyper-thin cables are light and flexible, so there's no leverage on the port - and on a gimbal they don't fight the motors or throw off your balance.

No. Our cables are full HDMI 2.1 at 48Gbps with gold-plated connectors - the same 8K60 / 4K120 performance as a chunky cable, just lighter and more flexible. The slim build is about protecting your port and cutting gimbal drag, not cutting performance.

Yes - they're built to the same pro-grade HDMI 2.1 standard the best cables use: 8K60 / 4K120, 48Gbps and gold-plated connectors. What sets them apart is the hyper-thin, port-protecting build (many premium cables are thick and stiff) plus that signature red, run-and-gun look.

Full-size HDMI (Type A) on both ends - the standard large connector found on most current cinema and pro mirrorless bodies.

If your camera has a full-size HDMI port, yes - that includes the Sony FX3, FX6, A7S III, A7 IV; LUMIX S5II, S1II, GH7; Canon C70, C80, R5 Mark II; Nikon Z8, Z9; Blackmagic and more. A few compact bodies use the smaller micro-HDMI port (e.g. Sony A7 III, Canon R5/R6, LUMIX S9) and would need a micro cable instead. Not sure? Send us your model and we'll confirm.

Yes. Full HDMI 2.1 at 48Gbps handles 8K60 and 4K120, so you can pull clean, high-frame-rate footage to an external monitor or recorder like an Atomos Ninja.

Yup! RAD cables play nice with everything - PS5, Xbox, laptops, capture cards, TVs, the lot. If it's got a full-size HDMI port, you're good to go. (They're built for cameras, but they don't discriminate.)

Absolutely - feeding a monitor or recorder is exactly what these are made for. Pick a length and style to suit your rig (right-angle and coiled are great for keeping the link tidy on the move).

It's an articulating mount for holding monitors, lights, microphones and other accessories on your rig. The dual ball-head locks tight at any angle, and it ships with 2 Allen keys and 2 (1/4 inch to 3/8 inch) screw adapters. Available in red, black or grey.

It mounts an external monitor to a cold shoe and lets you swivel and tilt it to the perfect angle. A spring-loaded locating pin keeps it secure while you shoot.

27 LUTs (.cube) and 27 Lightroom presets (.xmp). The presets come in two versions - clean Colour presets and matching Grain presets with film grain already baked in. The .cube LUTs work in most editing software and load into LUMIX cameras; the .xmp presets are for Adobe Lightroom.

In Lightroom Classic, go to the Develop module (press D), click the + in the Presets panel and choose Import Presets. Select the files or the whole folder (Colour and Grain import together) and click Import. Hover to preview, click to apply. A full guide is included with your download.

Colour presets give a clean grade with no texture - great for modern, minimal edits. Grain presets have authentic film grain baked in so you can hover-preview the grainy look instantly. The FILM looks especially shine with grain, and you can stack a Grain preset on top of a Colour one.

Presets set the overall look, but white balance and exposure vary shot to shot. Most use 'As Shot' white balance - if colour looks off, nudge Temp/Tint or set Auto. Exposure and contrast are the main sliders to fine-tune. If you shot with the matching LUT in-camera, the preset lines up very closely with your JPEG.

The .cube LUTs work in most professional editing software - Premiere Pro, DaVinci Resolve, Final Cut Pro and more - as well as in-camera on LUMIX. The .xmp presets are made for Adobe Lightroom.

Copy the .cube files to your SD card, open the LUT Library in the Image Quality menu, pick an empty set, press LOAD and select your card slot. For video you preview them with V-Log View Assist; for photos you apply them through My Photo Styles. Our guides walk through both.

For photo work we recommend My Photo Styles. Real Time LUT is great, but swapping LUTs resets some settings (like noise preferences) each time. My Photo Styles remembers the full combo - LUT, opacity, grain and noise - so you can switch looks while keeping a consistent aesthetic. You can save up to 10 once unlocked.

Yes - under LUT Settings you'll find LUT Opacity, so you can dial a look back if it's too strong, or even stack two LUTs for something unique.

That's the whole idea. Shoot with the LUT in-camera for finished JPEGs, then edit your RAW files with the matching Lightroom preset. You get one consistent look from capture to final image.

It's a ready-made configuration for your LUMIX that sets the camera up intuitively for photo and video - the same setup we use ourselves. Instead of digging through menus for hours, you load one file and you're ready to shoot.

You load it onto your LUMIX from an SD card via the camera's save/load settings menu. Each file comes with a simple step-by-step guide, so it only takes a couple of minutes.

It loads our configuration as a starting point. If you want to keep your current setup, save it to a card first - then you can always switch back. Everything is adjustable once it's loaded.

It's built for the latest firmware, so update your camera for the best match. It includes both NTSC and PAL versions where relevant, so you're covered wherever you shoot.

Currently the S9, S1II and S1RII, with more models on the way. Each file is tailored to its specific camera, and you can tweak anything after loading.