Learn who qualifies, how much funding is actually available, and how it fits alongside the existing Program 4.0.
On September 19, 2026, Governor Gavin Newsom stood on the stage of the Television Academy in Hollywood and signed Assembly Bill 2319 into law, creating California's first standalone tax credit for post-production work, aiming to continue the already growing momentum to attract, and retain, production business here in the Golden State.
For the better part of the last two decades, California's incentive conversation started and ended with where you shot. AB 2319 changes that math. It tells editors, visual effects artists, sound mixers, composers, and the facilities that employ them that the state finally has a dedicated reason for post-production work to come home, even when the cameras rolled somewhere else entirely.
This guide will tell you what AB 2319 actually does, what gaps still exist, and what production finance teams need to know for their budgets.
What AB 2319 actually does
AB 2319, authored by Assemblymember Nick Schultz (D-Burbank) with Senator Ben Allen among its co-authors, establishes a standalone post-production tax credit administered by the California Film Commission. Unlike Program 4.0, which ties eligibility to principal photography and overall in-state production spend, AB 2319 stands on its own:
- It applies to post-production work only: picture editorial, sound, music, visual effects, and finishing.
- It does not require principal photography to have taken place in California.
- It's open both to projects that never qualified for Program 4.0 and to projects that filmed elsewhere entirely.
- The credit is effective for taxable years beginning on or after January 1, 2027, with credit allocations starting July 1, 2027, and running through July 1, 2032.
In practice, that means a project that shot in Georgia, the UK, or New Zealand can still bring its post-production work, and the jobs that go with it, back to California and claim a credit for doing so.
Who qualifies for California’s post-production tax credit, and for how much?
To qualify for the new post-only tax credit, a project needs to be a qualified motion picture with a minimum budget of $1 million, calculated per episode for series. The base credit is 35% of qualified California editorial post production expenditures, which covers picture editing, sound, and music scoring. Additional credits of 5% for post production spend outside the Los Angeles zone, 10% for wages paid to California residents who live and work outside the zone, and 15% for qualified music scoring are capped at 15% combined, for a total of up to 50%. A further 5% is available if at least 50% of principal photography days took place in California. The statute separately caps qualified visual effects spend at $6M, apart from a $6M cap on all other post production costs, but it does not state a credit rate for visual effects. That treatment will be verified and finalized when the California Film Commission issues its program regulations.
Qualified taxpayers can also elect to receive the credit as a refundable amount (90% of the amount that exceeds tax liability, paid over 5 years), which matters because it changes how bankable the incentive is for financing purposes. Credits attributable to independent films can also be sold to an unrelated party. A project that claims a Program 3.0 or 4.0 credit can't also claim the standalone post credit, and that bar applies to the whole project, not only to the same expenditures, so it's worth modeling both paths before you commit to one.
The funding number that matters more than the headline rate
Here's where I'd encourage some discipline before anyone builds a budget around this credit. The coalition behind AB 2319, led by the California Post Alliance, the Motion Picture Editors Guild (IATSE Local 700), and the California IATSE Council, originally pushed lawmakers for $100 million to fund the program. What made it into the final budget agreement is $10 million in initial funding for the credit's first year, which the bill's author describes as startup funding. AB 2319 leaves each fiscal year's allocation, from 2027/28 through 2032/33, to the annual Budget Act rather than guaranteeing $10 million every year. The statute also reserves 85% of each year's credits for applicants that provide a self attestation under penalty of perjury.
That's not a knock against the bill. Assemblymember Schultz has said publicly that growing that number in future budget cycles is the goal and getting a standalone post-production credit onto the books at all, after years of advocacy, is a real win for the industry. But $10 million can go quickly once a handful of VFX-heavy projects start drawing allocations. If you're planning your budget around this new tax credit, don't assume availability. Confirm and apply early.
How California compares to other post-production incentives
AB 2319 puts California in the company of a growing group of jurisdictions that treat post-production as a freestanding basis for a credit, rather than an uplift bolted onto a production incentive. The distinction matters: a standalone credit doesn't depend on where you shot the project, while an enhancement only pays out after a project has independently qualified for a base credit.
Jurisdiction | Standalone Post Credit | Notes |
|---|
California | Yes | New for 2027; $10M in initial funding |
New York | Yes | Available since 2010, subject to thresholds and program requirements |
New Jersey | Yes | Through the Digital Media credit since 2024 (at least $500,000 of NJ post spend, 35% to 40%); the film credit itself is not standalone |
Georgia | Yes | Reinstated for 2026 to 2030; 20% of qualified GA post spend for post companies with at least $500,000 of post spend a year (company level, not per project), with a small company tier starting at $100,000; 30% (35% in tier 1 or 2 counties) for projects that also shot in Georgia; $10M annual cap |
Pennsylvania | Yes | 30% on qualified post production expenses for standalone post projects |
Connecticut | Yes | 10% to 30% based on Connecticut post spend, with 30% at more than $1M |
New Mexico | Yes | 25% base on post production services performed in New Mexico |
Australia | Yes | PDV Offset in place since 2007, currently 30% |
Canada | Provincially | BC (DAVE, 16%), Ontario (OCASE, 18%), and Quebec (16%) pay on local VFX, animation and post labour without requiring a local shoot |
United Kingdom | No | VFX uplift attached to the core production credit, not standalone |
For a deeper look at how these programs are structured, see EP's Producer's Guide to Global VFX and Post-Production Tax Incentives.
While AB 2319 is now the most competitive standalone post-production credit in the U.S. on its top rate (50%, or 55% with a California shoot), it's not necessarily the most competitive post incentive globally, once you account for funding caps, program structure, and how a credit actually gets monetized. Rate alone has never told the full story, and that's especially true here.
Where SB 186 fits in
AB 2319 didn't arrive in isolation. Back in June 2026, as part of the state budget, lawmakers extended an existing temporary $5 million annual cap on total business tax credits through 2029 in SB 122. Starting in 2030, that cap becomes the greater of $5 million or 70% of a company's state tax liability in a given year. The cap wasn't written with film credits in mind, but because it applies across all business tax credits combined, it threatened to significantly limit how much a large production's earned credit could actually be used in any one year.
Industry advocates pushed back over the summer, and on the same day Newsom signed AB 2319, he also signed SB 186, a fix negotiated between legislators and industry stakeholders. SB 186 strengthens the broader Film & Television Tax Credit Program by raising the refundable amount under Program 4.0 from 90% to 95%, paid over 2 years instead of 5, and, starting in 2027, excluding credits that independent productions sell from the SB 122 cap. Larger studio productions didn't get the same exemption (credits a studio elects to take as a refund are outside the cap), but the independent carve-out addresses one of the sharpest concerns raised by the Entertainment Union Coalition and the Motion Picture Association over the summer.
The short version: if you're modeling cash flow around California credits earned in 2027 and beyond, both the type of production you're running and the specific credit you're claiming now matter more than they used to.
What production finance teams should do now
- Map post-production spend separately from the production budget, even for projects that are shot in California.
- Model whether a project is better served by Program 4.0 or the AB 2319 standalone credit. Remember, it's one or the other for the whole project, not both.
- Build a funding-availability check into the plan before counting on an allocation; $10 million will not stretch far.
- If the production is a larger studio project claiming a sizable credit, model the SB 122/SB 186 interaction on your realized cash flow.
- Watch for California Film Commission guidance as the January 1, 2027, effective date approaches, including how applications will be prioritized once funding is exhausted.
How Entertainment Partners can help
California's incentive landscape has moved fast this year, between Program 4.0, AB 2319, and SB 186, and it's a lot for any production finance team to track on top of running a show. That’s where EP's incentives team is your advantage. We monitor every incentive change as it happens, so you can evaluate eligibility early, compare jurisdictions on realistic terms, and build a financing plan around incentives that will actually be there when you need them.
Visit EP's Production Incentives page to explore how AB 2319 fits into your production and post-production plan, or connect with our incentives team for guidance specific to your project.
