there are other features that I want that I don't see, which are increasingly important to ADs. These are not as critical as the 5 primaries identified already, but which in my view are essential for buy-in. If they're absent or not planned for, then a competitor is going to be able to add duplicate your existing features with little difficulty, add others not available here, and generally leverage their brand to drink your milkshake. The first-mover advantage is very slim, especially in a cutthroat business staffed by technological conservatives who are used to overpaying because they're spending OPM. If an existing provider goes mobile within the next 1-2 years (and they will) their install base will swamp yours. Delays to market will be explained away as 'making sure the product is really ready'.
So what are those missing features?
o screenwriting software integration - Final Draft at a minimum, also Adobe Story and other competitors. FD can generate breakdown lists, and being able to import these will reduce the work needed for breakdown by 80-90%.
o screenplay/breakdown versioning - on large projects, changes in shooting order or rewritten scenes are the norm. Assume they will occur and make sure the process of 'forking' is as easy as possible.
o Storyboards. I can't believe you don't have 2-way integration of location scouting and breakdown with mobile cameras.
o export to media/printing - in a remote location, you cannot safely assume access to the internet, cloud, or universal availability of smartphones or internet-capable devices among the cast and crew. You will still need to be able to produce sides and fall back on more primitive methods. On long nights in the middle of nowhere with terrible weather, paper, pencil and flashlight are going to be around for a while yet. When it comes to charging electronic devices, cameras and sound recorders are going to take priority over ipads and cellphones.
o allow for retroactive changes to be made under the cirucmstances described above; sometimes a weary crew will come back to base camp with a list of necessary changes that are handed to a confused production manager, and which must be entered correctly for the following days' shooting schedule to work.
o contact management - naturally you want to have that information centralized, but nobody likes having to enter everybody's contact details into a yet another database program with yet another set of misspellings, incorrect phone numbers, yadda yadda. Allow contact import from GMail, Facebook, google+ hotmail, and other major providers. Allow the creation of a contact address that automatically harvests email information and builds the mailing list. Provide call sheets that include hyperlinks and/or graphical maps leveraging some popular mapping API. Use email, Twilio, Twitter, checkin and location services to automagically alert and monitor call times, navigation planning, ride-sharing, and general logistics.
o Ensure that the logistical functionality also applies to location/prop management, gear rental, suppliers and so forth.
o Include templates for model, location and service releases and allow for digital signature and post-production hard-copy transmission to reduce presale clearance issues. Releases matter, but to so few people on set that they are frequently overlooked during production, leading to expensive headaches later. The closer to sale or release, the more expensive the headache.
o Pre/post breakdowns - breakdowns are such a hassle that they are often prepared only for production, while project management before and after principal photography is often done on the back of an envelope. Get pro with this from the outset. Which also means...
o input for shooting logs from the AC/Sound team
o digital slating - again, this should be out front - scene/shot # and shot clock on an iPad or Android tablet are a no-brainer, and a key visual sell for your branding. A major missed opportunity in your existing design.
o Not to mention GPS on mobile devices. Don't just do an electronic implementation of what's already on paper or a laptop and then make people manually add information from digital sensors.
o Hell, start planning now for being an input vector for video/audio recording. I have posted audio that was recorded on an iPod because the director suddenly got inspired while he was having coffee with one of the actors and had the means of production in his pocket.
o Platform agnosticism - although Apple dominates in the film world, it is by no means universal. Don't confine yourself to a single platform, especially when 95% of your functionality can be achieved with html, css, and node.js.
o Build marketing in from the getgo. Eastwood should also be the tool of choice for image tagging tagging, media assets, managing a social media, and driving your marketing campaign from pre-production onwards using the most enthusiastic and committed members of your team - your cast and crew, who stand to benefit directly from the film's success. You'll also need to coordinate their availability for post-production, sales, and release phases, from wrap parties to reshoots to private screenings.
o I'm not 100% sure about your branding; the name 'Eastwood' is very clever but might be misinterpreted as implying the authorship or endorsement of a certain Famous Actor...who has more money, fans, and legal experience than your whole team put together. If I were your lawyer, which I am not and which I could not be because I am not a lawyer, then I would advise against infringing on Clint Eastwood's right of publicity because that would basically require you to give him a Large Amount of Money or ownership of the company in lieu. Great name, now pick another. Sorry.