to develop technology that appears "both retro and futuristic at the same time", with Fazekas explaining that the goal was to avoid a science fiction look, so the fantastical aspects were reserved solely for function while the aesthetic was kept within the realms of that time period. Filming Filming for the series took place in Los Angeles, with the story's location shifting from New York City to Los Angeles with the second season to capitalize on this. Gabriel Beristain, cinematographer for the One-Shot and the first season of the series, used a combination of modern digital technology and traditional analog techniques to replicate the feel of classic films that are set in the 1940s, but to also have the convenience and consistency of modern technology, such as using the Arri Alexa digital camera, along with Leica Lenses and silk-stocking diffusion nets. Edward J. Pei took over as cinematographer for the second season. Stunt coordinator Casey O'Neill, who also worked on the One-Shot and Captain America: The Winter Soldier, incorporated the specific fighting styles of the characters, such as the more "CIA-trained" fighting of Carter or the more acrobatic, "Black Widow"-inspired style of antagonist Dottie Underwood. Visual effects Sheena Duggal served as visual effect supervisor, returning in the same capacity from the Agent Carter One-Shot, with the visual effects for the series created by Industrial Light & Magic (ILM), Base FX, and later DNeg TV. Duggal worked closest with ILM, who coordinated with Base and DNeg to ensure a "seamless workflow". The majority of the series' visual effects work focuses on set extensions to depict the period setting, as well as the more fantastical aspects such as Howard Stark's inventions, or Zero Matter and Jason Wilkes' intangibility in the second season. Music In June 2014, Christopher Lennertz, who composed the music for the Agent Carter One-Shot, talked about potentially working on the series, saying, D'Esposito "told me last summer at Comic-Con that there was a possibility this was going to become a series. And he said that if he was going to be involved, he wanted me to be involved, too." In September 2014, Lennertz officially signed on to compose for the series. Lennertz combined all the different style elements of the show in the music, such as mixing jazz and period elements, with orchestra and electronic elements. Lennertz said, the music is "always done from a sense of being sort