Blackmagic Design recently announced that Australian music project The ACT used two Blackmagic PYXIS 6K and an ATEM Mini Extreme ISO live production switcher to produce a cinematic live concert experience featuring the indie rock band Ball Park Music.
When Ball Park Music took to the stage for the latest instalment of The ACT, it was not just a concert for its fans. It was a fully cinematic experience that seamlessly fused the thrill of a live show with the polish of a professional studio recording. Captured and produced using cutting-edge Blackmagic Design equipment, this milestone performance marks a pivotal moment for The ACT, an ambitious project created by filmmaker Bailey Watts and his creative team to reimagine how we experience live music.
With two Blackmagic PYXIS 6K EF digital film cameras, two Blackmagic Design PYXIS Monitor EVF Kits, and an ATEM Mini Extreme ISO switcher, The ACT brought together technical mastery and emotional storytelling.
“This project was born out of passion,” said Bailey Watts, The ACT cinematographer and operator. “We didn’t just want to record a gig. We wanted to give audiences and artists a once-in-a-lifetime feeling. Something raw, intimate, and unforgettable.”
At just 27, Watts has already spent the better part of his career behind Blackmagic Design cameras. He got his first Blackmagic URSA Mini Pro 4.6K at 14, a moment that fast-tracked him straight into the industry and planted the seed for what would eventually become The ACT.
The ACT was conceived during an impromptu studio session in early 2024, when Watts, Topic, the recording engineer and producer for The ACT, and a musician friend recorded a live take that sparked a bigger idea: what if this kind of stripped-back, cinematic performance could be brought to a live audience?
That idea evolved into The ACT, a hybrid music series that places artists in a 360-degree stage setup, housed in unique venues like a gin distillery, where a limited audience of just 400 people is invited into an ultra-intimate environment. No phones. No distractions. Just the artist, the audience, and the cameras.
Each performance is tailored not just for the crowd, but for the camera. “We’re not just capturing a show,” Watts said. “We’re designing a visual and emotional experience, and for that, we need gear we absolutely trust. That’s why we shoot on Blackmagic.”
The ACT’s commitment to cinematic quality is reflected in its technical choices. The PYXIS 6K’s full-frame sensor with wide dynamic range enabled ultrawide exports for multiple formats, while its compact modularity allowed mounting on Ronins, sliders, and tripods for creative flexibility.
“Everything from a full-frame sensor to built-in monitoring and consistent colour science gave us a system we could operate in a high-pressure live environment without second guessing anything,” explained Watts.
Using the ATEM Mini Extreme ISO, the team seamlessly switched between multiple angles, bringing real-time edits into play and supporting the artistic direction.
“Each camera move is part of the story,” said Watts. “There’s intention behind every cut.”
Colour also played a pivotal role in shaping the tone of the show. “You could use another brand, but you’d lose the soul,” said Watts. “Blackmagic’s colour science is just in a class of its own.”
“There are no rehearsals. If something fails, it does so live. But when it works, it’s magic,” said Watts.
The ACT is also nurturing emerging talent through its parallel series initiative showcasing up-and-coming artists with a 100 per cent revenue return to performers. With future shows set to feature iconic Australian hip-hop artists Bliss n Eso and an increasing international interest, The ACT is expanding while staying true to its creative roots.
“We’re not trying to be another festival. We’re creating a curated, intentional space for music – and Blackmagic has been key in making that vision a reality,” said Watts.
Visit https://www.blackmagicdesign.com/au
