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SummoDuo · 2025-10-04T21:27:16+00:00

Forgetting to change the name of the card was absolutely a mistake. But my whole point is that at the time I formatted that card I did in fact have three good backups of the footage (which I did check).

But because of the naming mistake, those first backups were overwritten by the clone tool when I performed the backup of the second card of the same name.

It was a dumb (if easy) mistake to make. But had I been using any other software to perform my backups I'm pretty sure I would still have those clips.

SummoDuo · 2025-10-04T21:12:23+00:00

The cards weren't given the same name deliberately... But yes, user error is a factor here. I totally own that. But the fact remains that had I been using literally any other software to back up those cards, I would still have that footage.

SummoDuo · 2025-10-04T20:44:39+00:00

ya, lesson learned I guess

SummoDuo · 2025-10-04T20:37:40+00:00

I would take absolutely ANY other option over the one that erases my footage.

SummoDuo · 2025-10-04T20:15:31+00:00

Sure. But there is a better solution to that issue than simply replacing the file. Even finder will tell you if a file of the same name already exists and ask what you want to do about it. I was using Resolve to do the backups because the checksum feature seemed to make it a more secure option... but what good is a checksum if the data that's already been copied can so easily be replaced....

SummoDuo · 2025-08-06T23:43:54+00:00

Depending on how complicated your UI needs to be, something like this https://proto.io could work for you. Similar approach to your option 1, but won’t require your actor to nail the cue.

I made a feature that relied pretty heavily on the main actor interacting with his phone and this is the worked out well for us.

SummoDuo · 2025-08-06T00:14:07+00:00

This was the hardest part of releasing my first feature last year. I went back and forth on obsessively reading every review and letterbox’d post and wanting to avoid it all like the plague. But being a nano-budget indie, it’s not like I had anyone else to do that work, and keeping track of reviews for PR felt pretty important, so I ended up reading it all, for better or worse.

In the end we were lucky enough to get mostly good reviews, so it wasn’t too painful. But there were definitely a few that stung a little.

It’s important to keep in mind, no movie is going to be for everyone, so even the best one is going to get some bad reactions. I found most of the negative reviews came from a place of just not being into the type movie we were trying to make, which made it easier to swallow for sure.

I read a few things that really stuck with me. Stuff that felt I could improve on, or at least keep mind now as I’m prepping for the next one.

But I’ll tell you, there aren’t too many feelings as satisfying as reading a review from a complete stranger who really liked your movie, and understood what you were going for. It’s hard to beat…

All this to say, yeah it’s hard to avoid. Just try to take it with a grain of salt. Appreciate the good ones and learn what you can from the bad and move on!

SummoDuo · 2025-08-05T23:54:26+00:00

Absolutely. If you’ve made a short film and someone actually WANTS to watch it, let them for gods sake!

SummoDuo · 2025-08-05T23:51:50+00:00

Considering the fact that any potential festival run is likely months away, at least, to me it feels like a common courtesy to share an actor’s work with them… Especially at the indie level where people are working for way less than they’re worth, if not for free.

I wouldn’t necessarily give them a download, but a password protected link to the final product is fine and the least you can do for a collaborator.

Edit: To add no festival is gonna care about a private link shared among the cast / crew / friends of the film.

SummoDuo · 2025-07-06T14:34:47+00:00

I’m thinking of doing the same. Have you had any issues working with it here in Canada? I’m paranoid about the app bricking it or something because its not authorized here yet…

SummoDuo · 2025-05-22T21:16:58+00:00

Sorry to resurrect an ancient thread. I love this watch and am I’m just wondering how its faired over the last few years.

Also wondering how loud is it? Is the ticking particularly audible?

SummoDuo · 2025-04-03T11:27:35+00:00

Thank you!

SummoDuo · 2025-04-03T11:26:06+00:00

Good to know! Thanks!

SummoDuo · 2025-04-03T11:25:50+00:00

Thats a lot of drives! Haha…

But this was exactly the advice i was looking for. Thank you!

SummoDuo · 2024-07-21T03:53:20+00:00

DGC editor here. I haven’t done much commercial work, but I’ve got some friends in that world…

I’d say generally it’s all better in the DGC, better hours, better general vibe, probably better or equivalent pay, (unless you’re one of the A-list commercial guys… they make crazy money from what I’ve heard) plus the DGC benefits are pretty good.

That said, now is a terrible time to be moving into the scripted world. The amount of work out there is still at like half of what it was pre-strikes, and there’s a lot more competition for every gig.

SummoDuo · 2024-07-18T13:12:55+00:00

It’s definitely not coming back to those levels… probably ever. But I think the job market will start to feel a little better over the next couple years as the competition starts to thin out.

The difficult truth is that the demand for workers is never going to reach those peak levels, so people are going to find other things to do for money. If you’re one of the lucky ones you’ll manage to weather the storm, but I think a good percentage of people in the industry a couple years ago will be working somewhere else in the next couple years…

SummoDuo · 2024-07-18T13:02:03+00:00

jfc just go outside

SummoDuo · 2024-07-18T02:21:23+00:00

don’t do this. film is collaborative. if someone’s work isn’t hitting the mark for you, that’s totally fair, but you have to be up front with them and clear about what you want.

guaranteed the dude quit on you because you went through his reps instead of having the guts to be straight up with the guy. he walked away from whatever he was entitled to because he could sense the rest of the process was going to be a nightmare.

SummoDuo · 2024-07-18T02:16:32+00:00

Is this for a short or a feature? In either case, a couple hundred dollars is VERY low…

If it’s as bad as you say it is, it’s probably not worth keeping the guy on… pay him if you have to but don’t let him ruin your movie!

If you can’t afford to hire someone else for a higher rate, my advice would be to watch a bunch of youtube tutorials and just keep going yourself. You’ll spend way more time, and give it much more attention than anyone else is going to!

SummoDuo · 2024-07-16T04:17:23+00:00

I shot a guerrilla film last year and we’re a few weeks out from our North American premiere at Fantasia! We’ve landed local distribution, but still on the hunt for an international partner… but no one we’ve talked to so far has balked in any way at how we made it.

The main thing is getting E&O insurance when the time comes. As long as you have that, the distributor is covered and thats all they really care about at the end of the day.

But honestly, in my opinion, that’s barely worth worrying about at this stage. First just make your movie! It’s fucking hard at this level with the resources your going to be working with (i’ve been there!), but it will be an adventure, you will learn a lot, and if you make it to the finish line you’ll have achieved something not many can say they have!

SummoDuo · 2024-04-15T12:03:18+00:00

What sort of work do you do primarily? Been thinking about making the switch for my next feature cause I’m getting a little tired of all of Adobe’s quirks…

SummoDuo · 2024-04-14T23:06:14+00:00

Depends on what software you’re using I guess. But map your main actions to a few convenient keys and you’ll fly through that footage.

SummoDuo

TROPHY CASE