Pé Na Tábua Tur

The moment

When Pé na Tábua came to us, they had been through four other agencies.

Not one. Four.

Pé na Tábua isn't a luxury travel brand. They're a Porto Alegre-based agency selling affordable group tours, bus trips to historical sites, gastronomic destinations, regional getaways across Southern Brazil and into Latin America. It's one of the most competitive segments in Brazilian tourism: every regional agency is fighting for the same families, the same retirees, the same holiday weekends.

Each of those four previous agencies had promised content that would drive bookings. Each one delivered posts. None delivered sales.

By the time they reached SIMMARK, the question wasn't "can you make us look good on Instagram." It was: "can content actually move our business, or have we been sold a story?"

What we did

We earned trust in stages, because that's what they needed after four bad-fit agencies.

Stage 1: Paid social ads (start small, prove it works)

We didn't pitch a giant retainer on day one. We started with paid ad management, single, measurable, accountable to numbers. Static destination posts, clear targeting, real reporting.

The static ads worked. Conversions started showing up.

Stage 2: We pushed for carousels (and they trusted us)

After the static ads proved we could move the needle, we made the case for carousels, denser storytelling, more dwell time, better for travel as a visual category. Each slide builds the case: destination hook → what's included → group photos from past tours → pricing → CTA.

Stage 3: They handed us their content

Once carousels were converting, the natural next question was: "could you also handle our content production?" Yes, and this is where the work got interesting.

Stage 4: One day of green screen, every future destination

Here's the move that changes the math.

For trips that have already happened, photo and video documentation exists. Real travelers, real destinations, real moments. That's what the Bariloche and Treze Tílias carousels are built on.

But for trips that haven't happened yet, which is where the actual selling has to happen, there's no footage. The agency can't fly the team to Patagonia in advance to shoot promo material. Most agencies fall back on stock images of the destinations and hope it lands.

Our solve: shoot one day of green-screen content in studio, then composite the team into every upcoming destination.

One studio day. The team filmed against green screen with framing, lighting, and body language calibrated to how each destination would look in post. Then in editing, we placed them in Bariloche, in Buenos Aires, in Gramado, in Treze Tílias, in Colônia del Sacramento, destinations they hadn't visited yet but were actively selling.

This is filmmaker thinking applied to a content problem. Same approach we'd use on a film set when location-shooting budget runs dry: build a stage, light it for compositing, let post-production do the heavy lifting.

Stage 5: Reel direction

The Colônia del Sacramento reel above is from this same period, drone footage, kinetic typography in the brand's hand-painted style, two-line poetic title work ("Onde o tempo desacelera / E a história encanta"). This is what their content looks like now.

The thinking

Most travel agencies in this segment do one of three things:

1. Post stock photos of destinations (looks fake, doesn't convert)
2. Copy-paste the operator's brochure imagery (looks generic, doesn't differentiate)
3. Wait for real footage from completed trips (limits ad inventory to past travelers, not future ones)

Pé na Tábua needed a fourth option, something that would let them advertise upcoming destinations with real team presence, scale across multiple departures, and feel cinematically distinct from every other bus-tour agency in Porto Alegre.

The traditional answer to "we need real-looking destination content for trips that haven't happened" is "that's not possible, go on the trip first." The filmmaker's answer is "shoot once for everywhere, composite the rest."

What they say

“We worked with four other agencies before SIMMARK. They're the first ones whose posts actually convert into sales. The whole approach is different — they think like filmmakers, not just marketers.”

What we didn't do

We didn't run their booking platform. We didn't redesign their website. We didn't manage their email marketing. Our scope was paid social → content production → creative direction, the marketing engine that drove sales through their existing infrastructure.

Results

• Stages of engagement: 5 (paid static → paid carousels → content production → green-screen creative → reel direction)
• Previous agencies: 4
• Studio shoot days for a month of destination content: 1
• Recommendation rate: 98% across 357 Facebook reviews