National and foreign travellers want opposite things. How to film an establishment that has to sell to both.
The national traveller is the biggest market
Four often underestimated facts.
The volume of nights comes mostly from the country itself, not from abroad.
Those travellers book later, often less than a week ahead.
They come by car, which changes everything: parking, access, journey, stops.
And they come back, which makes the relationship more profitable than a single visit.
One budget consequence: at least half the content has to address that audience, which is rarely the case.
The two audiences differ on almost everything
Five differences to be handled separately.
The moment of booking: long in advance for the foreign traveller, at the last minute for the national one.
The way of arriving: plane and transfer on one side, road on the other.
The make-up of the group: couples and friends on one side, extended families on the other.
Catering expectations, which have almost nothing in common.
And the language, which changes not only the version but the references.
One production rule: these are not two edits of the same shoot, they are two shoots. Attempting them in one produces a video that convinces nobody.
Show the room honestly
Five shots that advantageously replace a drone shot.
The room in one continuous take, with no wide angle, with a known object for scale.
The real view from the window, filmed from where you actually stand.
The bathroom in full, including the water pressure.
The noise: street, air conditioning, neighbours, said out loud.
And the bed, with the firmness stated, information nobody gives and everybody looks for.
It is in low season that content is needed
Four reasons to shoot at that time.
The places are empty, therefore filmable without complicated permissions.
The teams are available and relaxed.
Production rates are lower.
And the content produced will serve exactly when it is missing, dealt with above.
Have local people film
Four profiles that work better than a travel creator.
The staff, for the kitchen, the upkeep and the behind the scenes, in an openly assumed position.
The local resident, for what is around and how to get there.
The local family, to show real use of the place by the national audience.
And the loyal guest who comes back every year, whose account is worth more than any production.
One precaution: filming other guests requires their written agreement, and permissions in the common areas are asked of the management. The exact advertising disclosure is checked with a lawyer.
What is shot at a tourism property
| Sequence | What it proves | Constraint |
|---|---|---|
| Arrival and welcome | The first contact | No other guest in frame |
| The room | The real state, unretouched | Natural light |
| Breakfast | The concrete offering | Film before the rush |
What is asked of management
The permitted areas, the slot, the consent of any staff filmed, and the property's position on shots showing other guests.
What has no place in the video
A rate, an availability, a rating or a score. These move week to week and expire the video long before it pays for itself.
The publication calendar
Four moments, with their target.
The end of the year, for the distant bookings of the foreign audience.
The six weeks preceding each school holiday period, for the national audience.
The days following a long public holiday period, when the next one is already being planned.
And the low season, where the rainy day content makes the difference.
One last marker: in this category the video that fills rooms is not the one showing the finest moment, it is the one showing the least fine moment and proving it stays pleasant.
Sources
Checked on 27 August 2026. Thresholds and rates change: where this guide and the official source disagree, the official source is right.
