For studios and agencies
White label video player embeds
for the client sites your studio ships.
An agency does not have an embed problem. It has one per client, repeated every time a site goes live, on brands that are not yours. This is what a white label player has to survive at that scale, the two places we lose before you standardise on us, and the honest comparison against the incumbent answer for branded business video.
Video hosting for filmmakers · 5 GB free · Paid plans from USD 9/month
Updated September 2026
The agency version of the question
White label is not one setting;
it is whose brand survives the page.
A filmmaker embedding one reel asks whether the player has a logo on it. An agency asks a harder question, because three parties are in the frame at once: your studio, the client whose site it is, and the viewer who will never think about either. The embed has to look like it belongs to the client, behave the same on every site you ship, and survive a brand team opening the page source.
0
Platform marks
No logo, badge, wordmark or watermark on the player, on any plan including the free one.
11
Switches per film
Logo, title, views, share, play button, volume, AirPlay, fullscreen, autoplay, muted and loop, saved per video.
6
URL overrides
autoplay, muted, loop, title, accent and bg, set per placement straight in the iframe address.
$0
Branding gate
No entitlement check anywhere in the branding path. Unbranded is the default, not the upgrade.
Those two numbers are different things and they are worth keeping straight. The Embed panel in the dashboard holds eleven switches that persist against the film itself, so a setting you choose once travels with every copy of that embed. The iframe URL reads six parameters, which is how one film behaves differently in two placements without you duplicating it. The snippet the dashboard hands you carries no parameters at all, so a paste is a clean baseline and any override is deliberate.
What the viewer gets inside the frame is the video, your client’s logo if you turned it on, an optional title, an optional centre play button, captions and one control bar. There is no advertising code, no recommendation query, no up-next list and no end screen. The player also streams the file you uploaded rather than a version of it: no transcode at upload, no transcode at playback, and no rendition ladder, so a master plays at its own data rate.
Read these before you standardise
Two places we lose
in an agency workflow.
Both are structural. Neither is fixed by a plan, and you should know them before you put us in a proposal, not after a brand team asks a question you cannot answer.
One: there is no custom domain
Two: branding is per account, not per client
There is a third trade that is not a limitation so much as a choice, and it matters more on a client’s marketing site than on a director’s reel. Because there is no rendition ladder, the player cannot drop to a lower quality on a weak connection. It buffers instead. A platform that builds an adaptive ladder is making the opposite trade, spending your image quality to keep a viewer on a train from stalling. If the page is a paid-traffic landing page measured on completion rate, that trade may well be the right one, and it is not the one we make.
The repeatable part
Set the brand once,
then ship it on every site.
The point of a white label workflow is that the second client costs less effort than the first. Four steps, and only the first one is per client.
One account per brand
Create the account under the identity the embeds will wear. Every film in it inherits that brand, so the decision you are making here is which mark the players carry, not which client folder they sit in.
Dress the player once
Upload the client's logo and set the accent and background. The accent paints the progress bar; the background paints the frame around the video, and can be dropped to transparent so the player floats on the client's own page. Two honest details: the control bar is a fixed dark and the centre play button is a fixed gradient, so neither takes the client's colour.
Choose the eleven switches per film
Logo, title, views, share, play button, volume, AirPlay, fullscreen, autoplay, muted and loop. They save against the film and travel with every embed of it, so a hero film set to silent and looping stays that way wherever it is pasted.
Paste, then override per placement
The generated iframe is parameter-free, which makes it a clean default. Add the six URL parameters where a placement differs: a muted looping hero on the home page, the same film with its title showing on a case study. Autoplay forces muted, because every browser requires it.
What travels with the film
The eleven switches, the client logo and the colours. Change one and every embed of that film already on a live site reflects it, without you touching the client's CMS.
What travels with the placement
The six URL parameters. They are per iframe, so the same video id can behave differently on the home page, the case study and the pitch deck microsite.
What the invoice reacts to
Storage, and nothing else. Bandwidth is not metered, so a client campaign that goes wide does not surprise you with a bill mid-flight. The meter is how much you keep online.
What will not embed
A vaulted film, a private film, a password-protected film or one still uploading. The embed returns a quiet unavailable card rather than a broken frame, which is the right failure on a client's live page.
Against the incumbent
Where Wistia is the right answer,
and where it is the wrong one.
Wistia is the default answer to this keyword for a reason. It is the branded business video platform, and for an agency doing performance marketing it is the better product. The comparison below is not an argument that it is worse. It is an argument that it optimises for a different thing than the one an agency shipping picture-led client sites cares about.
Wistia figures are from its own pricing page and help center, fetched 7 September 2026. Wistia advertises 20 percent off annual billing; the annual dollar figure rendered inconsistently across two reads of the page today, so it is not quoted here. Wistia gates quality levels by source width: a file must be at least 1920 px wide to receive a 1080p asset. Studio, at $250 a month or $2,500 a year with 2 TB hot plus 2 TB cold, sits above Max and is not shown.
The row that decides this for a picture-led agency is the delivery ceiling. Wistia is explicit about the mechanism in its own documentation: the original file you upload is not delivered by the Wistia player, and only the optimized assets it creates are served. Those assets are published with a maximum of 5,625 kbps at 1080p and 11,250 kbps at 4K. That is a sensible ceiling for a product demo or a founder interview, where the video’s job is to be watched to the end on any connection. It is a hard ceiling if the client is a fashion house, a car brand, an architecture practice or a restaurant group, and the thing you are actually selling is the grade.
The row that decides it the other way is the one this table does not have. Wistia carries lead capture inside the player, viewer-level analytics and the integrations that push a watch into a marketing automation stack, and a higher tier, Business plus Signals at $329 a month, adds an automation suite on top. None of that exists here, and building it is not on the shortest path for this product. An agency whose deliverable is pipeline should stay where the pipeline tools are. An agency whose deliverable is the film should not pay for them with bitrate.
Stay with Wistia
The video is a demand-generation asset. You need a form in the player, a viewer identified in the CRM, or heatmaps a client's marketing lead reads weekly. Buy the tool that was built for it.
Stay with whatever the client owns
The brand standard is that every asset lives on the client's domain. No amount of an unbranded player fixes an iframe whose src is somebody else's hostname. This is a real requirement and we do not meet it.
Come here
The site is judged on picture. The client's logo belongs on the player, on every plan, with no ads or related videos beside it. And you would rather the invoice track how much you keep online than how many people watched.
Questions
Frequently asked
Can the player live on my client's own domain?
No. The iframe points at uncompressed.io/embed/ and that address appears in the page source of your client's site. The player inside the frame carries no logo, badge or wordmark of ours, but the domain is ours and there is no plan, add-on or upgrade that changes it. If your contract requires every asset to resolve to a domain the client owns, this is the row where we lose and you should say so in the pitch rather than discover it at launch.
Do I need a paid plan to take your branding off the player?
No. There is no platform logo on the player on any plan, the free tier included, and no entitlement check anywhere in the branding path. Your client's logo and your accent colour are settings, not an upgrade. That is the opposite of the usual model, where an unbranded player is the thing the paid tier sells you.
How do I give five clients five different logos?
One account per brand. The logo and the brand colours are account settings, not per-client settings, so a single login dresses a single identity. Running several client brands from one account is not possible today. Separating them costs real money: five accounts on Lite is 500 GB of storage for $45 a month, where one Pro account is the same 500 GB for $25.
Can I change the player per placement without touching the account settings?
Yes, for six of the settings. The embed URL reads autoplay, muted, loop, title, accent and bg, so the same film can run muted and looping as a silent hero on the home page and with the title showing on a case study page. Autoplay forces muted, as every browser requires. The snippet the dashboard generates carries no parameters at all, so you add them yourself when a placement needs them.
What bitrate does the viewer actually get?
The data rate of the file you uploaded. There is no transcode at upload, none at playback, and no rendition ladder, so the player streams the stored bytes. The honest consequence is that on a slow connection it buffers, because there is no smaller version for it to fall back to. A platform that builds an adaptive ladder trades your image quality for that resilience.
Are there ads, end screens or related videos in the embed?
None. The embed page renders one element: the player. The player renders the video, an optional client logo, an optional title, an optional centre play button, captions and one control bar. There is no recommendation query, no up-next list, no end screen and no third-party ad script inside the frame.
Should my agency just stay with Wistia?
If the video is a demand-generation asset, yes. Wistia is built for a marketing funnel: lead capture in the player, viewer-level analytics and the integrations that feed a CRM. None of that exists here. Come here when the job is that the picture has to hold up on the client's site, and go there when the job is that the video has to produce a contact record.
Size one account per brand
Storage is the only meter here. Bandwidth is not metered, so a campaign that goes wide does not change the invoice. Start a client on the free tier, move them to the plan their library needs.
Sources
- 1.Wistia pricing: Free, Business and Business plus Signals plan storage, bandwidth, users, prices and branding lines (fetched 7 September 2026)
- 2.Wistia help center, Export settings: derivatives, delivered bitrate ceilings and source-width gating (fetched 7 September 2026)
- 3.Wistia help center, Appearance and brand: the Wistia logo badge on the playbar and custom player branding (fetched 7 September 2026)
- 4.Wistia help center: per-video media limits apply to legacy plans only as of 17 March 2026 (fetched 7 September 2026)
- 5.Wistia Channels: the documented public address is a wistia.com subdomain (fetched 7 September 2026)
- 6.uncompressed.io pricing: plan storage, and storage as the only meter (product page, verified 7 September 2026)
- 7.uncompressed.io terms: storage is the only meter and there are no bandwidth caps (product page, verified 7 September 2026)