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Integration

Filmgrail + Savoy Systems

Savoy's Oscar is built for venues that are more than a set of screens. The digital layer above it should be too.

What running Filmgrail on Savoy Systems means

Savoy Systems' Oscar covers ticketing, retail, memberships and stock across sites, which is why it turns up so often in UK independents, arthouses and mixed arts venues. Those venues also tend to have the most interesting programmes and the worst websites, because the programme is complex and a generic booking page cannot express it.

Filmgrail reads your programme, sessions, seating and pricing from Oscar and builds the surface properly: film pages with trailers and context, seasons and strands, memberships surfaced where they matter, native apps, and a checkout that copes with a venue running cinema, live events and a bar on the same night.

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 Savoy Systems

Admissions, retail and stock, memberships, multi-site controls and the reporting Oscar is bought for. Filmgrail writes the online sale back and leaves the rest alone.

Who owns what

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

AreaSavoy SystemsFilmgrail
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

We are an arts venue, not just a cinema. Does that work?

Yes. Cultural centres and mixed-programme venues are a significant part of the platform, and the festival and events tooling exists for exactly this reason.

Can members see their benefits and pricing online?

Where the membership and its entitlements are exposed by Oscar, they can be surfaced and priced in the online checkout rather than being a counter-only benefit.

Do we keep Oscar's reporting?

Yes. Online orders are written back into Oscar so admissions, retail and membership reporting continue to reflect every channel.

How do seasons, strands and festivals work?

They are first-class content in the CMS rather than a workaround. Filmgrail also runs dedicated festival sites, so multi-strand programming with its own identity is a normal case.

We run more than one site. Is that a problem?

No. Multi-site cinemas and groups run on the platform, with shared content where it should be shared and local programme and pricing where it should not.