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Integration

Filmgrail + Jack Roe

Jack Roe has been supplying cinemas since the trade was measured in reels. The stack it anchors deserves a front end from this decade.

What running Filmgrail on Jack Roe means

Jack Roe's Tapos is a long-established ticketing and point-of-sale system in UK exhibition, with the operational depth you would expect from a company whose history runs back through Film Row. Cinemas on it are rarely looking to move.

Filmgrail reads programme, session, seating and pricing data from Tapos, owns the website, the native apps, the content and the online checkout, and writes the completed sale back so the box office record stays authoritative.

What moves between the two systems

Nothing is re-keyed. The integration reads what your box office already knows and writes back what the moviegoer just did.

Films and metadata

Titles, synopses, running times, certificates, cast, genres and release dates, enriched with artwork and trailers so film pages are not a line of text and a poster.

Sessions and showtimes

Every performance with its screen, format, language, subtitle and accessibility attributes, updated as the schedule changes rather than overnight.

Seat maps and availability

Live hall layouts with holds, house seats, wheelchair spaces and companion seating rendered exactly as they exist in the box office.

Ticket types and pricing

Adult, child, concession, member and loyalty pricing, plus surcharges and booking fees, applied by your own rules rather than duplicated in a second price list.

The completed order

Seats, ticket types, amounts and payment reference written back so the sale appears in your daily reports alongside the counter.

Reconciliation

A matching report on both sides so finance can tie the digital channel to the box office totals without a spreadsheet.

What your moviegoers get

  • A website built to sell, not to inform. Programme, film pages, showtimes, seat selection and checkout on one fast, mobile-first site you control through a CMS rather than a ticket iframe bolted onto a brochure page.
  • Native iOS and Android apps. Not a wrapper around your booking page. Autoplaying trailers, stories, watchlists, personalised showtimes and push — the things that make somebody open the app in a week when they are not buying.
  • One CMS for both. Films, showtimes, articles, carousels, banners, gift cards, push campaigns and loyalty edited once and published to web and app together.
  • A checkout that finishes. Seat maps, ticket types, fees, gift cards, value cards and saved payment in a flow measured on completion rate rather than on feature count.
  • Moviegoer identity. Nine out of ten end users on the platform create a profile, which turns anonymous transactions into a customer base you can segment, target and measure.
  • Audience data you can act on. Demographics, engagement, watchlists, ratings, sessions and digital box office in one view, joined across site and app.

What stays in Jack Roe

Ticketing and POS, counter hardware, ticket types and pricing, stock and concessions, and the reporting your managers use daily.

Who owns what

The division of responsibility between Jack Roe and Filmgrail, written out so nobody discovers it in month three.

AreaJack RoeFilmgrail
Programme and schedulingSource of truthReads and publishes
Seat maps and inventorySource of truthReads and renders
Ticket types and pricing rulesSource of truthApplies at checkout
Counter and kiosk salesOwnsNot involved
Website and native appsNot involvedOwns
Online checkout and payment flowReceives the completed saleOwns the experience
Content, campaigns and pushNot involvedOwns
Moviegoer profiles and loyaltyWhere the system provides itOwns the digital layer
Box office reporting and settlementSource of truthReconciles against it

The point of the split is that your finance and operations reporting never moves. Every online sale lands back in your box office as an ordinary transaction, against the same ticket types and the same price rules the counter uses.

How a project actually runs

First we look at what your deployment exposes. That is a short technical conversation, not a discovery workshop, and it ends with a straight answer about whether the integration is a week of work or a quarter of it.

Then the build: your branding, your content model, your seat maps, your ticket types, your checkout rules. You review it on a staging site against your real programme, not a demo dataset.

Then launch, with your old URLs redirected rather than dropped so the search visibility you have built comes with you. Apps follow the site, usually a few weeks behind, because the CMS and the content are shared and there is no point shipping an empty app.

Nothing in that sequence requires you to touch the box office, which is why the risk of trying it is so much lower than it feels.

Answers

Frequently asked questions

Does Filmgrail replace Tapos?

No. Tapos stays the ticketing and point-of-sale system. Filmgrail owns the digital layer above it.

How does the integration read our data?

Through the interfaces your Tapos deployment exposes for programme, session, seating and pricing, with the completed order written back. We confirm the specifics against your installation before quoting.

Will online and counter sales reconcile?

Yes. Online orders are written back against the same sessions and ticket types, and a reconciliation report matches both sides so finance is not doing it in a spreadsheet.

Can we sell gift cards and vouchers online?

Yes, and where your box office holds the liability, the balance is honoured across both channels rather than being a separate digital-only product.

We have a very old website. Is migration painful?

Old URLs are redirected rather than dropped, so the search visibility you have built is carried over. That work is part of the build, not an extra.