lying ▁with ▁the ▁gun ▁into ▁the ▁door " ▁and ▁the ▁last ▁fight , ▁when ▁Carter ▁is ▁" be ing ▁attacked ▁by ▁the ▁big ▁gu y ", ▁were ▁both ▁created ▁with ▁visual ▁effects ▁elements ▁after ▁they ▁ran ▁out ▁of ▁time ▁to ▁complete ▁film ing ▁on ▁them ▁on ▁set . ▁In ▁early ▁ 2 0 1 3 , ▁Marvel ▁approached ▁visual ▁effects ▁company ▁Per ception ▁to ▁create ▁the ▁main - on - end ▁title ▁sequence ▁for ▁the ▁short . ▁Visual ▁effects ▁super visor ▁She ena ▁D ugg al ▁was ▁told ▁to ▁ret ell ▁the ▁story ▁of ▁the ▁short ▁in ▁ 9 0 ▁seconds , ▁so ▁she ▁decided ▁to ▁use ▁st yl ized ▁versions ▁of ▁imag ery ▁from ▁the ▁period ▁and ▁the ▁short ▁itself . ▁A ▁mixture ▁of ▁ 2 D ▁and ▁ 3 D ▁animation ▁was ▁used ▁to ▁achieve ▁a ▁final ▁ 2 D ▁look . ▁ ▁Music ▁Compos er ▁Christopher ▁L enn ert z , ▁who ▁previously ▁collabor ated ▁with ▁D ' Esp os ito ▁on ▁the ▁One - Sh ot ▁Item ▁ 4 7 , ▁composed ▁the ▁music ▁for ▁Agent ▁Carter . ▁Like ▁the ▁rest ▁of ▁the ▁short , ▁D ' Esp os ito ▁wanted ▁the ▁music ▁to ▁reflect ▁the ▁period ▁setting , ▁but ▁to ▁have ▁a ▁modern ▁feel ▁to ▁it ▁as ▁well , ▁so ▁he ▁sent ▁L enn ert z ▁Johnny ▁R ivers ' ▁" Secret ▁Agent ▁Man " ▁as ▁a ▁reference ▁track , ▁despite ▁it ▁having ▁been ▁released ▁in ▁the ▁ 1 9 6 0 s , ▁since ▁it ▁had ▁the