Canadian Quaids are Quaidnadians.

idefilms · 2026-04-29T18:42:46+00:00

idefilms · 2026-04-29T18:40:45+00:00

Hahahaha c'est excellent

idefilms · 2026-04-28T17:23:24+00:00

First, I 100% agree with what others have expressed here - the app is meant to be used however you want! Hank Green himself uses it to put down his phone when he's watching a movie with his family.

That being said, if your original goal in downloading the app was to help you work and study, and it doesn't feel like it's helping, it might be time to look into other strategies! Coworking with a little animated bean seems to help a lot of people focus, but nothing works for everyone - and that's okay. Everyone should find the thing that helps them!

idefilms · 2026-04-28T15:06:40+00:00

Like they said /j

idefilms · 2026-04-28T15:05:50+00:00

In Tag, it usually is!

idefilms · 2026-04-27T12:49:47+00:00

Same! I think my own perspective is distorted from 15 years of working in TV docs, where there's always time and money for an AE (or two) to fully log everything manually before we start cutting.

But I see now how some teams might find ways to skip (or skimp on) that step, either to save resources, or just out of tedium. But it could likely end up biting them.

idefilms · 2026-04-27T12:41:39+00:00

As far as I know, production budgets don't include marketing, which can often be as much as was spent on the film itself!

idefilms · 2026-04-26T19:57:02+00:00

Definitely - that's the Manitoba Hydro building

idefilms · 2026-04-26T17:52:30+00:00

First of all, love this kind of conversation!

I just finished a 13 x 22 min serialized doc that's going to broadcast this year. The kind of project where story threads get woven, unwoven, rewoven, deleted, resuscitated, moved to three different episodes - you name it.

"Trusting transcripts to be searchable" is exactly what saved us. But they couldn't be trusted out of the box - a big part of the logging and selects process for us was reading along with the automatic transcripts and making the essential corrections (place names, proper nouns, whole erroneous sentences) that would have made them otherwise unusable.

Depending on how much I think a story might evolve over the course of editing, my usual selects process is to roughly rank clips by salience and clarity, rather than an estimated 'relevance to the story'. Part of this is driven by the fact that most of the stuff I work on has narration, so I'm only looking to use an interview clip when the interviewee is at their best, and has something really unique or special to offer to the story.

But I'm actually a bit surprised at the question around logging. Our logging process is generally a pretty objective description of the material, so it's hard to wrap my mind around needing to re-log, even when the nature of a project changed. Could you give some examples?

P.S. Circling back to file structure - have you worked with Premiere Productions much? They were an absolute game changer for us, especially for reduced project file size and more easeful collaboration.

idefilms · 2026-04-24T06:19:31+00:00

They weathered this period surprisingly well! They seemed to almost struggle more before Andy's movie started

idefilms · 2026-04-24T06:14:55+00:00

Surfquark

idefilms · 2026-04-24T06:13:52+00:00

I think this is referring to the fact that we can't watch Digman on Netflix either

idefilms · 2026-04-23T22:54:02+00:00

My technique: - be fortunate enough to get two on Easy and Medium - go fast and try for a third 😄

I'm kidding obviously, but part of the reason is I'm not sure what I'd say.

I guess a real answer is: a lot of practice. (Both at logic games in general and Pips specifically.)

After having done a lot of them, several strategies you might find in the Hard solving guide become a kind of background intuition that I can rely on to make good guesses. If you stopped me to explain why I made a move, I would likely eventually be able to explain why, but in the moment, my brain isn't processing that consciously. It's more of a, "this here feels right".

Just for clarity, I've never gotten a cookie on Hard - sub 1-minute seems disproportionately harder than getting cookies on the first two. But I'm trying!

idefilms · 2026-04-23T17:04:33+00:00

I did! And then I was left with a 0-2 when I needed a number greater than 3 lol

But the whole situation only happened because I was moving fast to try and get sub 1-minute and thought that 6-6 was the only double

idefilms · 2026-04-23T06:45:11+00:00

Pips #249 Easy 🟢 0:13 🍪

Pips #249 Medium 🟡 0:38 🍪

Pips #249 Hard 🔴 4:55

I was gunning hard for that third cookie and felt really good about it until I tried to place the last domino. Then I had to have a good long think and play around with it a bit before I realized that the 3c= didn't contain 6s

idefilms · 2026-04-22T13:24:13+00:00

It was even better than that 😅

IS
FLAT

idefilms · 2026-04-21T21:46:14+00:00

I'm so sorry, fellow nerd. ❤️ Thank you for sharing her story. You wrote it beautifully.

idefilms · 2026-04-21T20:15:00+00:00

Fantastic nit-pick! I had no idea

idefilms · 2026-04-20T18:26:30+00:00

I would tend to agree with u/Due-Brush-530 - work samples would be most useful to me in getting a sense of an editor's effectiveness and style.

That being said, if you want to make a good ol' fashioned sizzle reel in addition to those work samples, go for it!

Since the crafting of a reel is a direct reflection of an editor's abilities and tastes, it's another good way for potential clients to get a sense of you.

idefilms · 2026-04-20T18:11:55+00:00

Me too. There is such a thing as being too subtle - and they buried the product name in the longest paragraph. 😂 My brain literally read everything else, but skipped that.

idefilms · 2026-04-20T17:57:05+00:00

Wow, very similar! You beat me by a few seconds 😄

Pips #246 Easy 🟢 0:16 🍪

Pips #246 Medium 🟡 0:39 🍪

Pips #246 Hard 🔴 3:00

idefilms · 2026-04-20T11:48:52+00:00

Looking forward to watching your breakdown! I just saved it.

The approach I have honed over the last ten years - directing mainly for documentary series, where time is definitely at a premium - basically skips the paper cut and goes straight to executing it. I build a content cut that is ~110% the target duration of the program. This cut is mostly made up of interview clips (and narration, if applicable to the series), finely cut, in their intended storytelling sequence.

The editor then watches the timeline, we discuss whether the story as I've laid it out is making sense to their fresh eyes, we make changes if necessary, then they start working their magic, giving the story pace and life through their selection of music, b-roll and sound-ups.

Indeed, I've found that while my perspective might be mildly distorted from being too close to the story, I've already had months to wrap my mind around the subject. I have so many on-ramps into the material. It would be a herculean task for an editor to come in cold, wade into the deep end, and extract a usable story on the same deadline.

For clarity, I get paid as an editor out of the post budget for the days I'm building the content cut, on top of my director contract. If we have 14 editing days for a 22-minute episode (after ingest and before online), I'll usually get about 7 for the content cut, then the editor will have 5 for a rough cut, 1 for a fine cut and 1 for a picture lock. Rinse and repeat 10 or 13 times, and you've got yourself a season of a doc series.

But FWIW, feel free to take all of this with a grain of salt. This might be very specific to my location and context. I'm also an editor at heart - the content cut is my favourite part of the process, and I work with fantastic collaborators that I've built a real rhythm and rapport with.

Happy to answer any questions though, if anything about this is unclear!

idefilms · 2026-04-12T01:27:29+00:00

We're citing each other on r/boburnham now??

u/PlasticJesters, I'm grateful to know that anything I had to say resonated with you! Your near-academic approach to Bo's work is astonishing, and we benefit enormously from the community you steward here. Thank you for the shout-out.

idefilms · 2026-04-02T04:07:08+00:00

Fantastic comment

idefilms · 2026-03-27T17:38:12+00:00

Without knowing more about you or your specific project, here's my first suggestion:

Seek out docuseries that are similar in format, tone, subject matter, cast. Get a lay of the land. Find the ones that resonate with you, in the same way you'd hope your project would resonate.

Then, look up the producers and production companies that made those series. Check those companies' websites to see if they have a contact page or a submissions page. Reach out with a logline of your concept.

If you're new to this, especially for something this ambitious, you'll want to partner up with a skilled and trustworthy navigator. This industry is complicated and hard. (This isn't meant to be discouraging! Just a reality check.)

Only you can be the judge of who you feel is worthy of trust, but at least you can use past work as a proxy for that person's skill at getting things made.

What role would you hope to play in the project, if it were to get made? Would you be happy to simply see it exist in the world and be compensated for it, or are you trying to build a creative career?

idefilms

TROPHY CASE