We open the U.S. market for content, IP, and creative-technology companies — through the studios, streamers, agencies, and brand relationships that decide what gets made, bought, and seen.
Your content wins audiences at home. Your creative technology is proven with European broadcasters and studios. And the American market — the one that changes a company’s trajectory — keeps not happening. Not for lack of quality. For lack of the room.
The U.S. entertainment economy isn’t opaque. It is relationship-gated and Los Angeles–centric in ways companies from abroad underestimate:
We work from inside those rooms. Traksjon’s practice here is led from Los Angeles by a partner who spent a decade directing the UK’s trade relationship with this industry — and years operating in it.
Introductions at the level where content, formats, and co-production decisions are actually made — built on years inside the Los Angeles industry, not a contact database.
How agencies, managers, and packaging really work — and how a company from abroad gets represented, attached, and taken seriously without learning it the expensive way.
Production, post, localization, and audience technology sold into studios, streamers, and networks — reaching the operators who run pilots and sign vendor agreements.
Where entertainment meets commerce: brand integrations, platform deals, and the partnerships that turn creative assets into recurring American revenue.
Before any meeting, we work out the translation: which of your properties, formats, or capabilities maps to what U.S. buyers are actually commissioning and acquiring this cycle — and in whose language it must be told.
Two decades of Los Angeles industry and trade relationships — studio, streamer, agency, and institutional — compress the years it takes to be seen from outside.
One deal is a start. We position for the ongoing relationship — the output arrangement, the preferred-vendor status, the partnership that compounds across projects.
Not always first — but usually early. What matters is sequencing: which meetings need an agent or manager in the room, which are relationship introductions, and which are straight commercial sales. Getting that order wrong is the most common expensive mistake.
Yes — creative technology is half the practice. Production, post, localization, rights management, and audience tools are sold into the same rooms, through the same relationships, on the same buying calendar.
The decisions concentrate there, which is why the practice is led from there — but games, publishing, music, and brand work have their own geographies, and the approach follows the buyer, not the map.
Honest answer: the industry moves in cycles, and the first cycle is preparation — translation, representation, targeting. Companies that arrive prepared see meaningful conversations inside six months; deals follow the industry’s calendar, not ours.
If your work wins at home and America keeps not happening — we should have a conversation.
Traksjon assesses fit before committing. The conversation is the first step, not the commitment.
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