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Filmgrail + POSitive
POSitive is a counter-first system, and counter-first systems are usually strongest exactly where a moviegoer never looks.
What running Filmgrail on POSitive means
POSitive has been running box offices and concession counters for a long time, and cinemas on it tend to have their operational process well settled. Ticket types, price rules, comps, passes and the daily report are all somebody's muscle memory by now.
What a counter-first system rarely gives you is a digital channel worth the name. Filmgrail reads programme, session, seating and pricing data from POSitive, owns the website, the native apps, the content and the online checkout, and writes the finished order back so your reports still balance.
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 POSitive
Counter and kiosk sales, concessions and stock, ticket types and pricing, comps and passes, cash management and the daily reporting your managers already trust. Nothing at the till changes.
Who owns what
The division of responsibility between POSitive and Filmgrail, written out so nobody discovers it in month three.
| Area | POSitive | Filmgrail |
|---|---|---|
| Programme and scheduling | Source of truth | Reads and publishes |
| Seat maps and inventory | Source of truth | Reads and renders |
| Ticket types and pricing rules | Source of truth | Applies at checkout |
| Counter and kiosk sales | Owns | Not involved |
| Website and native apps | Not involved | Owns |
| Online checkout and payment flow | Receives the completed sale | Owns the experience |
| Content, campaigns and push | Not involved | Owns |
| Moviegoer profiles and loyalty | Where the system provides it | Owns the digital layer |
| Box office reporting and settlement | Source of truth | Reconciles 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.
Frequently asked questions
Will our counter staff have to learn anything new?
No. The counter stays in POSitive exactly as it is. The only change they will notice is that more customers arrive already ticketed.
How does the integration work technically?
Filmgrail reads programme, session, seat map and pricing data from POSitive and writes the completed online order back to it. The exact interface depends on your version and deployment, which we confirm before quoting.
Can we run online-only ticket types or offers?
Yes, as long as the ticket type exists in POSitive so the sale reconciles. Digital-only pricing, member rates and app-exclusive offers are common reasons cinemas do this.
Do we keep our existing reports?
Yes. Online sales land in POSitive against the same sessions and ticket types as counter sales, so the reports you pull today keep working.
What if we later change box office system?
The moviegoer-facing layer is deliberately separate from the box office, so changing box office does not mean rebuilding your site and apps. That independence is one of the main reasons to split the stack this way.
Other systems Filmgrail runs on top of
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