on September 16, 2019. Filming in Prague was halted in March 2020 due to the COVID-19 pandemic but had resumed by April 2021 and concluded in May 2021. Jordan Studios in Prague, constructed for the production, served as the primary production base. Other filming locations included parts of the Czech Republic; Dubrovnik, Croatia; Segovia, Spain; Slovenia; and the Canary Islands. Judkins has said that shooting in the Canary Islands was intended to be more extensive, but "because of COVID-19 we were not able to do that. It had been scouted, so we sent our drone and visual effects teams to build where we were going to go into a 3D digital world that we could then put our actors into.". In a behind-the-scenes video, Season 1 finale director Ciaran Donnelly said that scenes taking place in The Blight were supposed to be shot on Gomera, but COVID restrictions prevented traveling there. He credited production designer Ondrej Nekvasil with designing an artificial forest that could be built in Jordan Studios as a replacement. Filming in the Czech Republic qualified the production for the Czech Film Fund's incentive program, making available CZK 352million (US $16.3million) in incentives. Executive producer Marigo Kehoe said that "For us shooting here in the Czech Republic was the only choice". Filming in Slovenia similarly qualified the production for tax incentives of $314 thousand. Prague's Z Molu Es Kennel provided wolfdogs for the production between October 2019 and February 2020. Season 2 Filming for the second season began on July 19, 2021, and filming in Prague was scheduled to conclude by February 2022. Jindřichův Hradec, Calanchi Di Aliano, Ginosa, Letohrádek Hvězda, Barrandov Studios, CLA Studios in Ouarzazate, Masseria Lo Spagnulo, Masseria Borzone, and Chateau Karlova Koruna were reported as filming locations, along with Jordan Studios in Prague. More than 500 of the production crew's 600 members are reported to be residents of the Czech Republic. Music Showrunner Rafe Judkins said that for the soundtrack he "did not want to be what the cliché is, i.e., typical, what one would expect of that genre". Composer Lorne Balfe instead referred to "a big hot pot of different styles" such as Balinese, Celtic, Southern, and Cajun, feeling that it was important to give the soundtrack more modern touches and "not to make it just traditional 'medieval folk music'". In incorporating the fictional language "Old Tongue" into the soundtrack, Balfe worked with