10 clients, 10 different streaming tools collapsed into one operator console.
Per-client studios with their own canvas, brand kit, and connected destinations. Per-input + per-output pricing so a 1-destination client doesn’t carry the same license cost as an 8-destination client. A US edge network we run ourselves, so the SLA you signed sits on infrastructure someone can actually explain to you. Not a reseller two layers deep.
Built for the agencies workflow
One studio per client
Each client gets their own canvas + their own connected destinations. Switch between client studios without re-auth.
Modular per-input + per-output pricing
Some clients need 1 destination, others need 8. Pay for the workload, not a flat per-client license.
Delivery infrastructure we operate
Stream rides on US edge nodes we operate ourselves. When you owe a client an SLA, the delivery path has one operator you can call, not a SaaS reseller two layers deep.
Operator-grade canvas
Real scene composition, not preset templates. Build a look once per client and reuse it every show.
Why production agencies pick TRaX
Agencies juggle 5-50 active clients, each with their own brand kit and destinations. SaaS streaming tools built for one creator break at this scale. You end up with a tool-per-client mess. TRaX collapses that into one operator console.
- Per-show modular pricing means you can quote tight margins on small clients and still profit on big ones
- A delivery network we operate gives you something tangible to put in the SLA
- Real canvas means the same studio handles a podcast and a conference panel without two different tools
What a five-client week looks like operationally
Agency economics are not about any single show. They are about what happens when the fifth client arrives and nothing about the first four has to change.
- Studio per client
- One studio, one destination set, one access log
- Client A’s destinations, tokens and guest history never surface inside client B’s studio, which is the difference between a real per-client workspace and a shared login with a naming convention.
- Billing unit
- Per input and per output, monthly
- Each additional input and each additional output is five dollars a month, so a client’s cost falls out of their run-of-show and can be quoted before the engagement rather than reconciled after it.
- Cloud encoder
- Metered hours, charged past the allowance
- Browser encoding is free and the GPU path is metered, so routine client work can sit on the free path while metered hours are reserved for the shows where it genuinely matters.
- Contractor access
- Tokens revoked without touching the show
- A freelancer whose engagement ends has their invite pulled in one action, leaving the studio, its destinations and its scheduled work exactly as they were.
- Audit trail
- Invite mints and guest joins are recorded
- When a client asks who had access to their green room on the fourteenth, there is a log that answers it — a question freelance-heavy teams field more often than they expect.
Programs run at 1080p as standard, and up to 1440p when every destination you have enabled can accept it — the canvas is clamped to the least capable one in the set.
Already comparing the alternatives?
How an agency workflow runs on TRaX
- 1
Per-client studios
One studio per client. Each carries its own destinations + brand kit.
- 2
Pre-built scenes
Build the canvas once per client. Reuse it every show.
- 3
Operator from one tab
Switch between client studios in the same browser. No re-auth.
- 4
Bill the workload
Inputs and outputs scale per show, not per month per client.
What to put in the statement of work
Agencies get caught out by promising a capability and meeting the constraint on show day. These three belong in writing.
A mid-show format change is a second stream, so price it as one
The canvas format is read when a stream starts and does not renegotiate. A client who wants the first hour at one resolution and the panel at another is describing two productions, and the honest response at scoping is two line items rather than a heroic attempt on the day.
The client’s platform mix sets their quality ceiling
The program is clamped to the least capable destination switched on, so a client who insists on including a phone-first platform has chosen a lower-resolution show everywhere else too. Have that conversation while it is still a trade-off on a spreadsheet.
Do not build a pitch on 4K
The output ladder understands 3840x2160 and nothing downstream of it carries 4K yet. If a proposal leans on 4K, it is leaning on something that is not switched on — quote what is live now, and track the changelog rather than a promise.