San Francisco is sharpening its pitch to Hollywood.

Mayor Daniel Lurie on Wednesday signed legislation modernizing the city’s long-standing film incentive program, boosting rebates and expanding fee relief in an effort to lure back film and television production that has increasingly migrated to more aggressive subsidy markets.

Under the revised program, productions will receive a 20 percent rebate on qualified local spending above $1 million, in addition to a 10 percent rebate on the first $1 million in spend. The city will also provide up to $1 million in fee waivers and reimbursements, covering costs such as permits, police services and the use of municipal property.

The overhaul marks the first significant update to San Francisco’s incentive framework since its creation in 2006 — a period in which rival jurisdictions across California and beyond have expanded and refined their own production enticements.

“This marks a turning point for our city,” said Manijeh Fata, executive director of the San Francisco Film Commission. “This is about more than attracting productions — it’s about driving meaningful local spending and supporting the San Franciscans who power this industry, from our union crews and independent filmmakers to the small businesses we rely on every day: camera and lighting houses, caterers, drivers, security teams, hotels, restaurants, and neighborhood merchants.”

The changes arrive amid heightened competition among municipalities seeking to capture production dollars. Board of Supervisors President Rafael Mandelman framed the move as necessary to remain competitive. “As localities across the state compete to attract more film production, San Francisco must stay in the game,” he said. “Strengthening our film incentive program will keep jobs in San Francisco and help ensure this important economic activity doesn’t bypass us.”

Previously, productions were required to complete 55 to 65 percent of principal photography within city limits and were eligible for fee rebates capped at $600,000. Industry stakeholders had long argued that the program had fallen out of step with other regional offerings.

San Francisco has served as the backdrop for projects including Josephine, A Man on the Inside and The Last Black Man in San Francisco. Filmmakers behind those titles have cited the city’s unique visual identity — and the importance of financial support — as key factors in bringing their stories home.

“Having Josephine’s world premiere at Sundance served as a reminder of what’s possible when a city invests in its storytellers,” said director Beth de Araújo. “These updates to the incentive will open the door for even more SF filmmakers to create affordably and authentically.”

Producer Morgan Sackett, whose series A Man on the Inside shot in the city, described the experience as smoother than expected. “It was surprisingly easy — which hasn’t been historically its reputation,” he said, adding that San Francisco remains an “amazing backdrop to tell a story.”

For Joe Talbot, director of The Last Black Man in San Francisco, the broader objective is clear: restoring the city’s status as a creative capital. The goal, he said, is to make San Francisco a “great film city again.”

With the revised program now in effect, city officials are betting that a more competitive incentive structure — paired with San Francisco’s unmistakable cinematic landscape — will help turn that ambition into reality.