Requesting an invitation to Plentitube brings more than just access to our platform: we watch your work and try to get to understand your sensibilities so that we can help match you with appropriate industry opportunities.

Content is needed, industry-wide, of all varieties.  Whether you’re the next great Hollywood auteur, or filming your passion projects with the family camcorder, Plentitube invites you to join our network of talented video producers making their content available to buyers.

If you’ve requested an invitation from Plentitube, our team carefully reads your input, follows your link and watches your video.  We’re not taking detailed notes or scanning it for information… we’re connecting with your video in the same way the ideal viewer is connecting with, and enjoying, your content.

The process can take a few days, so please be patient if we have yet to generate your invitation or reach out to you about your work.

If you’re not a content producer, but would like to play around with our online platform, feel free to reach out to info@plentitube.com.

We’ve been beta testing our beautiful and powerful new site.  You can hold your breath now, because it’s about to launch.

A very special thanks to those who got in early to find bugs and give us suggestions for improving the platform we’ve worked with TheMechanism to design specifically for content creators to make EPKs that connect their work with network executives.

The Plentitube team reads every invitation request and watches every video, so don’t be shy about filling out the form on our frontpage and turning us on to the amazing work you’re producing.   If you’re creating brilliant, high-quality video that seeks a life beyond the web, then you’ve come to the right place.  We’ve built Plentitube to get you and your work in front of network executives looking for content just like yours.

It’s the most powerful engagement measurement tool there is, pure and simple.

Why Twitter?

 The service that empowers personal feeds has signed up a cross-section of cultural influencers ranging from celebrities and athelets, authors and philosophers, advertising and marketing wizards, to His Holiness the Dalai Lama.  Most importantly, Twitter is a filter that collects active participants and early adopters of media.

How does it work?

 Everyone on Twitter is talking about something.  A single “tweet” has the potential to reach thousands of people, as feeds are shared.  The most “tweeted” somethings are advertised to the entire Twitter community as “trending topics.”  Twitter Search allows anyone interested to leverage the entire Twitter community and to see exactly how many people are talking about something, and what they are saying. 

What’s an example?

   Oprah is one of the first producers of mainstream media to incorporate Twitter into her program and use it to build audience.   She’s well on her way to 1 million followers, and following just about every broadcast many of these Twitter users reply to her with messages and feedback.  

What’s the point?

As a result, the millions upon millions of people who follow this group of Oprah viewers have messages involving Oprah visible in the feed of their friends and family on Twitter.  Topics pertinent to Oprah’s agenda are advertised to the millions of people on Twitter as they become “trending topics.”  Suddenly ABC, Oprah’s distributor, has an advanced method of measuring the impact of her program and offering advanced opportunities to advertisers.

How can we use  Twitter as a measurement for media impact?

 This is the name of the game.  There are a few noteworthy services that provide in-depth metrics and analysis on Twitter trends, including TweetStats and Twist.

Everyone has to start somewhere, and that place is online.  Think the creator of this short film will find success in his career?

“World Builder” is a great concept, well executed by a fringe industry professional making his mark.  Bruce Branit, I’m sure, will be heading up DreamWorks’ next animated feature soon enough thanks to this spec video.

However, this is amazing programming.  Now.  Today.  

Here’s another recently released video of ridiculous quality:

There is massive opportunity for reputable sources to create channels that broadcast content like this on its way to millions of views.

I understand the basis for the theory, and perhaps if we were living in the first half of the 20th Century it would make sense.  But in our age of $11.75 tickets to see NOTHING ORIGINAL: THE SEQUEL in theaters, paired with the rapid evolution of alternate distribution channels, and crushed by the unstoppable entropy of piracy and file-sharing…

…the industry is going to need to think differently.

Unfortunately they are not.  According to a Hollywood Reporter article, this year’s crop of network television pilots is providing anything but escapism from our collective economic misfortune:

A group of friends gets fired on the same day. Troubled cops check into a halfway home. A Wall Street executive loses his job and has to reconnect with his small-town family.  Groups of single, perky young people seem to be waning.  No more friends with benefits — they’re now friends with unemployment benefits.

The irony of well-paid WGA writers channeling the strife of an average American aside, perhaps this is all a little much to inundate the CBS primetime viewers with (a sitcom called “Waiting to Die” – holy crap!).

At Plentitube we literally have thousands of ideas for programming, sourced from some of the most creative people from all over the planet.

Perhaps a little innovation could benefit both the viewer and a network’s bottom line…

In the past few weeks, hundreds of extremely creative people have gotten in touch to let us know what their work is all about.

Plentitube has been created in order to provide a conduit between your brilliant ideas and the media industry.

We strive to be at the very center of an entire world full of creative, original concepts.

It’s our job to take a look at everything you send us — every note, every video, every two-sentence pitch for what you believe is the next big cultural phenomenon.

Please don’t hesitate to reach out through invites@plentitube.com.

Can’t wait to hear from you!

Here’s a new episode in promotion of the 8 new episodes that will be debuting on Cinemax:

An entry to Radiohead’s latest make-us-a-fan-music-video contest.

Imagine that.  

Back in March 2008 when Plentitube began, I wrote a post about how ridiculous it is that cable is so expensive, especially on the eve of an obvious new broadcasting format.

I subsequently cancelled my cable.  My thought was that if I wanted to improve the experience of consuming entertainment online, I should be subjugated to watching nothing but that which my computer would provide.

That, and I didn’t want to be a total hypocrite, arguing for the rapid development of internet-based broadcasting to benefit everyone, while secretly sneaking home afterwards and watching “Dexter” on demand.

As fate would have it, I picked the exact right moment to gamble on internet TV being ready for me.

Streaming technologies have advanced so rapidly that they’ve caught up and surpassed SD-quality television.

Networks have been busy compressing and archiving episodes of popular shows and film, both current and classic.

If I had to guess, I’d say I find exactly what I’d like to watch – in high quality no less – about 85% of the time.  And that’s without hitting the torrents.

Here’s where to go:

The Portals:

Hulu
We’re all familiar with Hulu, the over-publicized NBC/FOX joint venture.  If they can keep up their very high standards of video quality and user interface, Hulu could easily become the defacto portal for TV on the web.

Go there for: new episodes of “Fringe” “Sarah Connor Chronicles” (if that’s your thing), FX shows like “Sons of Anarchy,” or the entire “Arrested Development” catalog.

Fancast
Comcast’s Internet TV portal flies much farther under the radar than Hulu, yet it’s gaining in viewership and the quantity of content.  Fancast houses a huge archive of feature films straight from Comcast’s on demand service, and the site has a great focus on cross-pollination between internet and TV.  Half of Fancast is based around TV listings, so in most cases searching for content that’s not available streaming directly from Fancast still pulls up results that are useful in locating the content.

Go there for: new episodes of “Dexter” and “Californication.”  Thanks Showtime!

The Networks:

ABC
ABC took a bold stance in persisting that viewers of their shows must come directly to abc.com. The downside: portals have already aggregated viewership. The upside: streaming HD. ‘Nuff said.

Go there for: “Lost” in HD. No personal judgments if you actually watch anything else on ABC.

CBS
Ahh CBS. What can we say? If you just can’t make it through the workday without your police procedural dramas or “Big Brother,” then you’ve gotta head over to CBS.com. Because that stuff isn’t going to be anywhere else. I’ve got to give CBS a lot of credit — they were the first to pioneer advanced flash players back in 2006 with the “Innertube,” but today unfortunately the CBS.com player doesn’t compare with the quality of ABC or Hulu.

Go there for: “The Amazing Race” episodes segmented into 20-separate 2-minute clips. Why? Who knows.

ESPN
Sure, so it’s been righteously annoying that the ESPN.com video player starts screaming at you about Gatorade when you load the page. They secretly want your boss to know when you’re getting paid to check your fantasy football team. But click that ‘launch player’ button and suddenly you’ve got a fully-programmable ESPN schedule to play with. Wait, you mean that I can skip all the topics on “Pardon The Interruption” that are a waste of time? That’s exactly what I’m saying.

Go there for: “Sportscenter” that you can control.