
Part of a series that takes an analytical look at the current broadcast pilot season and some of its trends and heroes. 
In August, New York State’s Film Production Tax Credit Program was extended and expanded to $420 million per year. Several months later, pilot production in the Big Apple is back in a big way. Nine broadcast drama pilots are filming there now, including such high-profile entries as NBC’s Prime Suspect and Smash, ABC’s Pan Am and CBS’ Susannah Grant. That is up from zero last year. (The pilot for CBS’ New York-set Blue Bloods only shot some footage there.) The giant leap puts New York almost on par with the traditional location leader, Los Angeles, which houses 11 of the 42 drama pilots ordered by the broadcast networks this season. That extends the continuous decline of the number of drama pilots shot in L.A. over the past decade. (Last year, 14 of the 43 broadcast drama pilots were filmed in there.) But with virtually all comedy pilots shooting in Los Angeles this season (ABC’s Bad Mom is the only one filming elsewhere, in Orlando), and the overall number of broadcast pilots creeping down every year, the percentage of all broadcast pilots (drama and comedy) produced in L.A. this year, 60%, was up a tick for a second straight year (59% in 2010, 57% in 2009).
Meanwhile, fewer pilots, six, are being filmed north of the border this year (a seventh, Fox’s Alcatraz, shot in San Francisco and Vancouver). Last year, that number was nine. The most dramatic reverse of the runaway production trend is at the CW, which traditionally films pilots and series in Canada. Last season, the network shot five of its six pilots in Canada and one in Thailand. This year, half of its six pilots are being produced in the U.S., with the others in Canada. For the bigger-budget drama pilots at the Big Four networks, shooting in Canada this year is tied mostly to creating elaborate settings, like the magical worlds in ABC’s Once Upon a Time and NBC’s 17th Precinct and 1840s Boston in ABC’s Poe.
Part of the reason for more TV studio executives to consider keeping drama pilot production in the U.S. is that the current currency exchange rate makes production in Canada less appealing than in years past. But also key are tax incentives offered in the states. On a standard hourlong pilot budget of $3 million, 10%-25% in tax rebates represents a nice saving. For instance, two of the three CW pilots shooting in the U.S., Hart of Dixie and Cooper & Stone, are being produced in states with tax incentives, North Carolina and Illinois. The locations also happen to fit the settings of the shows, which producers always wish for but only get when economics allow.
The Illinois incentives put in place by ex-Gov. Rod Blagojevich made Chicago the hottest pilot location last year with five projects filmed there: dramas Ride-along (now The Chicago Code), A.T.F., Pleading Guilty and Matadors and comedy Friends with Benefits. This year, that number is two, both shows set in the Windy City: NBC drama pilot Playboy and CW’s Cooper & Stone. Other pilots whose setting and filming location match this season include Fox’s Bones spinoff The Finder (Miami), NBC’s Prime Suspect and Smash (New York) and ABC’s Good Christian Bitches (Dallas).
Just in time for pilot season, Puerto Rico Gov. Luis G. Fortuño last week signed into law a new package of film incentives. It immediately paid off, with the territory snagging the ABC thriller drama The River (though the potential series may be filmed in Hawaii).
Two pilots, ABC’s Partners and CBS’ Hail Mary, are being filmed in Atlanta amidst a heated discussion at the Georgia Capitol over whether to keep the state’s tax incentives in place. A couple of weeks ago, several Hollywood executives spoke at a hearing with Georgia lawmakers to stress how vital tax breaks are to getting films and shows produced in the state and how they help create jobs outside the movie and TV business. But strapped for cash, several states, including Georgia, Michigan and New Mexico, are considering capping or eliminating their Hollywood tax credits. Budget woes already prompted New Jersey and Kentucky to place caps on film incentives last year, and Connecticut, Iowa, Kansas and Wisconsin all slashed spending on their programs in 2009.
The outcome of the political discussion in Georgia and New Mexico would affect TV studios’ decision whether to keep Partners, Hail Mary and NBC’s Reconstruction (the pilot shot in Santa Fe, N.M.) there if they are picked up to series. Shooting a pilot somewhere never guarantees that the series will be filmed there, too. (For instance, the pilot for Detroit 1-8-7 was shot in Atlanta, while the series has been filming in Detroit.) This year, at least two pilots will switch locations if ordered to series: Fox’s Exit Strategy from Los Angeles to New York and CBS’ Ringer from New York to Los Angeles. Because it is a one-time write-off, studio execs are being financially conscious but not overly concerned about expenses tied to a pilot-location choice. However, when it comes down to a 22-episode-a-year production, every penny counts and places like Canada become more appealing to TV execs.
Here is list of this year’s broadcast pilots and their filming locations:
| Title | Length | Network Location |
| Bad Mom | 1/2 hour | ABC Orlando |
| Charlie’s Angels | 1 hour | ABC Miami |
| Damage Control | 1 hour | ABC Los Angeles |
| Don’t Trust The Bitch… | 1/2 hour | ABC Los Angeles |
| Georgetown | 1 hour | ABC New York |
| Good Christian Bitches | 1 hour | ABC Dallas |
| Grace | 1 hour | ABC Los Angeles |
| Hallelujah | 1 hour | ABC Los Angeles |
| Identity | 1 hour | ABC Montreal |
| Untitled Tim Allen | 1/2 hour | ABC Los Angeles |
| Lost and Found | 1/2 hour | ABC Los Angeles |
| My Freakin Family | 1/2 hour | ABC Los Angeles |
| Once Upon A Time | 1 hour | ABC Vancouver |
| Other People’s Kids | 1/2 hour | ABC Los Angeles |
| Pan Am | 1 hour | ABC New York |
| Partners | 1 hour | ABC Atlanta |
| Revenge | 1 hour | ABC Wilmington, NC |
| Poe | 1 hour | ABC Toronto |
| The River | 1 hour | ABC Puerto Rico |
| Suburgatory | 1/2 hour | ABC Los Angeles |
| Smothered | 1/2 hour | ABC Los Angeles |
| Work It | 1/2 hour | ABC Los Angeles |
| The Assistants | 1/2 hour | CBS Los Angeles |
| The Doctor | 1 hour | CBS Los Angeles |
| Hail Mary | 1 hour | CBS Atlanta |
| Untitled Filgos | 1/2 hour | CBS Los Angeles |
| Homegrown | 1/2 hour | CBS Los Angeles |
| How To Be a Gentleman | 1/2 hour | CBS Los Angeles |
| Untitled Susannah Grant | 1 hour | CBS New York |
| Person of Interest | 1 hour | CBS New York |
| Ringer | 1 hour | CBS New York |
| Rookies | 1 hour | CBS New York |
| Two Broke Girls | 1/2 hour | CBS Los Angeles |
| Untitled Redlich,/Bellucci | 1 hour | CBS New York |
| Untitled Rob Schneider | 1/2 hour | CBS Los Angeles |
| Untitled Sports Radio | 1/2 hour | CBS Los Angeles |
| Vince Uncensored | 1/2 hour | CBS Los Angeles |
| Awakening | 1 hour | CW Toronto |
| Cooper & Stone | 1 hour | CW Chicago |
| Hart of Dixie | 1 hour | CW North Carolina |
| Heavenly | 1 hour | CW Vancouver |
| Danni Lowiski | 1 hour | CW Los Angeles |
| The Secret Circle | 1 hour | CW Vancouver |
| Alcatraz | 1 hour | FOX SF/Vancouver |
| The Council of Dads | 1/2 hour | FOX Los Angeles |
| Family Album | 1/2 hour | FOX Los Angeles |
| I Hate My Teenage Daughter | 1/2 hour | FOX Los Angeles |
| The Finder | 1 hour | FOX Miami |
| Exit Strategy | 1 hour | FOX Los Angeles |
| Weekends at Bellevue | 1 hour | FOX New York |
| Iceland | 1/2 hour | FOX Los Angeles |
| Little In Common | 1/2 hour | FOX Los Angeles |
| Untitled Liz Meriwether | 1/2 hour | FOX Los Angeles |
| Locke & Key | 1 hour | FOX Pittsburgh |
| Outnumbered | 1/2 hour | FOX Los Angeles |
| Tagged | 1/2 hour | FOX Los Angeles |
| Touch | 1 hour | FOX Los Angeles |
| 17th Precinct | 1 hour | NBC Vancouver |
| Are You There Vodka | 1/2 hour | NBC Los Angeles |
| Bent | 1/2 hour | NBC Los Angeles |
| Brave New World | 1/2 hour | NBC Los Angeles |
| Emily Spivey Project | 1/2 hour | NBC Los Angeles |
| Free Agents | 1/2 hour | NBC Los Angeles |
| Wonder Woman | 1 hour | NBC Los Angeles |
| Grimm | 1 hour | NBC Portland |
| Untitled Whitney Cummings | 1/2 hour | NBC Los Angeles |
| I Hate That I Love You | 1/2 hour | NBC Los Angeles |
| Lizer Kari Project | 1/2 hour | NBC Los Angeles |
| Lovelives | 1/2 hour | NBC Los Angeles |
| A Mann’s World | 1 hour | NBC Los Angeles |
| My Life As An Experiment | 1/2 hour | NBC Los Angeles |
| Untitledn Parham/ St. Clair | 1/2 hour | NBC Los Angeles |
| Smash | 1 hour | NBC New York |
| Reconstruction | 1 hour | NBC Santa Fe |
| Playboy | 1 hour | NBC Chicago |
| Prime Suspect | 1 hour | NBC New York |
| REM | 1 hour | NBC Los Angeles |
| SILA | 1 hour | NBC Los Angeles |
| Untitled Dan Goor | 1/2 hour | NBC Los Angeles |
| Untitled Peter Knight | 1/2 hour | CBS Los Angeles |
TV Editor Nellie Andreeva - tip her here.


Based on this report and the fact that Michigan is greatly reducing its tax incentives…Raleigh Studios may be biting a 75 million studio investment in Michigan.
The state tax incentive programs are like musical chairs…and, as in the game…some one gets left out of a seat when the music stops.
Great analysis! Thanks, Nellie!
Heard LOGJAMMERS is getting a 35% rebate in Reno. Steve Rippenholes is the line producer.
It is so sad there are no series filming in San Francisco.
The city does nothing that attracts productions and instead drives them away. Horrible.
I believe Alcatraz filmed part of its pilot up there. At least that’s something.
Because the CA production incentive program is a joke and SF is ridiculously expensive to shoot in. 52% fringe rate. ugh…
actually, the California incentive program ranks California as one of the top 5 states in yearly spending on incentives and the program has a 100% utilization rate. Do your homework next time.
Anyone have any idea why Georgetown is filming in New York. NYC cannot pass for DC. At all.
Having lived in Georgetown once, the same thing occurred to me. The Village and older parts of NYC do have 19th and 18th century row houses, but it’s not at all the same feel. The truth is most of the audience don’t have a clue about Georgetown and probably don’t care. This is a soap opera, not a travelogue. The production will most likely shoot some exteriors in DC, probably some of it with actors entering or leaving the Capitol building — that sort of thing. It’ll be shot to cut into the NYC stuff and nobody will know the difference, but it is a major artistic compromise. Hopefully it won’t get picked up.
This is wonderful news for all of us New Yorkers!
Another reason why Canadian production may be down: since the writer’s strike, networks started buying into Canadian shows produced by Canadian networks: Rookie Blue, Flashpoint, etc.
Sorry, guys, forgot to add: “But every one of these shows should bring their writing staff here, too!”
I’ve been running different rebate scenarios for LOGJAMMERS. I’m under a lot of pressure from the corner to get this thing down.
Where is Wonder Woman?
Not sure why productions shooting in Canada is considered runaway production and some sort of horrible thing. Canada is deemed a domestic market by the studios isn’t it? Not to mention that program dumping for a buck and a half per episode has nearly wiped out any incentive Canadian networks have for fostering an indigenous production base, and as a result the airwaves are filled with US reruns and simulcasts. US product eats away the largest percentage of broadcast dollars in Canada. I’m sure it’s well over 4 to 1. Should Canadians not have the same right to make it?
It’s considered runaway production by the Americans who lose work. I don’t know what rules are still in place, but Americans at one time, were not even allowed to go up there and work on these shows. When a pilot or movie goes to Canada, a hundred (plus) people don’t work in the US, and there’s the loss of expenditure on good and services in the potential US filming location. Whatever the status of home-grown Canadian production is, it doesn’t make “runaway production” from the US any less destructive to our own crew base.
The point is that calling a show runaway is a bit much considering all the US product dumping that happens in Canada to boast the studios profits!
Really, was the logic too much? I don’t understand why that post was deleted.
Isn’t Big Mike shooting in Orlando too?
The good people at Warners are letting this show film in Los Angeles. Hopefully, the pilot is great-goes to series and last 10 years. Work and stay home.
RJG
I can’t believe these states are giving away tax incentives when most of them are hurting financially. So a movie/tv show/pilot comes to town hires some local people, spends some money at restaurants, hotels etc… What are the states getting? Temporary employment is really all it is. I have always said and thought that someone is lining their pockets cutting these deals…….
That’s B.S.. There was one independent study done on the film incentives in Michigan (before the idiot voted in last year decided to scrap it), and for every $1 spent generated $6 in new income. Of course, that may not be the case.
And states need to do all they can to lure in film/TV productions in. Living in North Carolina, it’s nice to see more pilots (aside from nighttime soap operas like “Dawson’s Creek” and “One Tree Hill”) shoot here, maybe they’ll stay if they go to series.
Actually, there were several studies. Only the one you mentioned showed a positive and it was not “independent” at all…it was paid for by the tourism and film offices. Michigan is subsidizing movies, its just that simple. $40 million for Oz? How about a school instead?
I wonder how many of these new pilots (if any) are taking advantage of H.R. 4853 that extended the Section 181 Film Tax Credits until December 2011 when it may sunset again. The statute allows qualifying television productions to use the benefit for up to 44 episodes. When combined with some of the state tax incentives the savings could be quite substantial.
Nothing is being shot in Philadelphia.
Nothing shoots in Philadelphia.
Sorry about accidentally posting that twice. Don’t know how that happened. And it looks like they won’t let me delete one of them either. Oh, well.
States get rid of filming “incentives” because after they’ve done it for a while they realize it’s a sucker’s game. They make no money, and as soon as they say okay, you’ve gotten a free ride long enough, we’re hurting, why don’t you pay a bit of tax, the producers move along to the next starfucker state. Much like actors who eventually learn that you can’t show your landlord your episode of whatever in lieu of paying the rent, and realize that giving away your services just to get on TV has left you broke … and as soon as you ask for more money, the producers move on to the next Hollywood hopeful… and then you wonder why a union wasn’t there to protect … and then you’ll say oh, we voted in Ken Howard and Amy Aquino … who sold us down the river … because we were too dumb to pay attention …
Only 11 out of 42 drama pilots are being shot in LA. Everyone I know is working out of state. Uh okay, keep defending CA’s incentive program. Open your eyes a bit.
GREAT! Keep the American dollars IN AMERICA!
Only one for Dallas this year? What gives?
First of all the California tax incentives apply to feature films with budgets up to $75 million, not episodics (TV shows), unless the TV show “relocates” from another state. Until the tax credit applies to TV shows we will lose production to other states like Louisianna and countries like Canada and UK, like with features the past 8 years.
Secondly to the uninformed minds who think tax incentives are a “suckers game”, the productions that recieved the $300 million in California tax incentives over the past 3 years spent 2.2 billion in state. They also kept thousands of jobs in state like mine. If anything California needs to increase their program to a greater total investment in the $420 Million anual range like NY, increase the budget cap from $75 Million to $150 Million so films like Battle: Los Angeles don’t have to go film in Louisiana like they did, and make the incentives available to network television series.