Casters in the booth, analysts at home all in one scene canvas.
Game capture comes in via your existing OBS or vMix output over SRT or RTMP. Remote casters and analysts join through browser links. No NDI dance, no OBS install for the talent. Switch between full-game, picture-in-picture caster, and analyst splits live. Multistream to Twitch, YouTube, Kick, and Facebook simultaneously from one canvas.
Built for the esports workflow
Multi-host casting from anywhere
Co-casters and analysts join via browser links. Compose the talent into the canvas alongside game feed and overlays.
OBS / vMix bridge support
Plug your existing OBS or vMix output into TRaX as an SRT or RTMP source. Keep the parts of your stack that work; add browser-based talent and multistream on top.
Native Kick + Twitch + YouTube
OAuth-linked destinations for the big three esports platforms, plus arbitrary RTMP for niche regional ones.
Delivery we operate
When peak viewer concurrency hits, the routing decision is ours to make, on edge software we run rather than a CDN product we resell.
Why tournament organizers pick TRaX
Esports productions juggle game capture, multiple casters, sponsor inserts, and a Twitch + YouTube + Kick fan-out. TRaX is the missing piece that brings remote talent into the canvas without forcing them through OBS or NDI.
- Browser-native talent input: no OBS install for your remote co-caster
- Cloud encoders ride out long shows without thermal-throttling the producer laptop
- Per-input + per-output pricing scales with the show, not the calendar month
What a tournament broadcast runs at
Esports is the one vertical here where frame rate is an editorial decision rather than a default, and where the gameplay feed and the talent feed want genuinely different handling.
- Program canvas
- 1080p60
- Motion is the content. Nine megabits at the 60-class rung, against six at 30, is the most defensible bitrate increase anywhere on this site.
- Gameplay feed in
- OBS or vMix over SRT
- SRT carries the observer rig across the public internet with retransmission, so a lost packet is recovered instead of becoming a visible hitch in the middle of a teamfight.
- SRT tuning
- Receiver latency and reorder tolerance, per stream
- Both can be raised while the stream is running, so a caster on a hotel connection can be given a deeper buffer between maps without tearing the broadcast down and rebuilding it.
- Talent in
- Browser links for casters and analysts
- Nothing to install matters when the analyst desk is three people in three countries who were confirmed on Thursday for a Saturday event.
- Destinations
- Twitch, YouTube, Kick and Facebook together
- Every one of those accepts a 1080p60 H.264 program, so one encode reaches the whole audience without a second operator running a second rig.
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 a tournament broadcast runs on TRaX
- 1
Plug in game capture
OBS / vMix output streams into TRaX via SRT or RTMP.
- 2
Pull talent in
Casters and analysts join the studio via browser links from their homes.
- 3
Switch + composite
Pre-built scenes (full-screen game, picture-in-picture caster, half-and-half analyst). Cut between them live.
- 4
Multistream the show
Twitch, YouTube, Kick, Facebook, all at once from one canvas.
The constraints a tournament will actually hit
The first one surprises people who are used to high-refresh capture, and the other two are the ones that end up in contracts.
Sixty frames per second is the ceiling
The program cadence caps there. A 144Hz capture is welcome as an input and will be resampled down for the program, so pushing a higher-rate capture up the chain buys nothing, and there is no output above 60 to aim at today. Spend the effort on observer quality instead.
Publisher rules decide what you are allowed to broadcast
Most competitive titles license community tournaments under terms covering prize pools, sponsor categories and where the broadcast may appear. That agreement, not the production stack, is what determines whether you can simulcast to four platforms, so read it before you promise an exclusive to anyone.
Remote talent brings their own failure modes
Casters at home are on domestic connections with roommates, software updates and cats. Build a run-of-show that survives losing one voice for ninety seconds — a second caster who can carry alone, and a break you can take early — because you cannot engineer their ISP from the truck.