(ambient music)

Ready for another adventure?

(dramatic music)

I'm not afraid to kill a woman.

I won't make it easy.

(grunting and yelling)

If that thing is activated

it can cause large-scale destruction.

(bomb exploding)

[Male] What now, Ms. Carter?

(gun fires)

I go to work.

Hi, I'm Mike Seymour from FXGuide.com for Wired.

With the new Agent Carter, Marvel expands still further

into the television space,

and they're not the only ones

that are moving to the small screen.

Visual effects for the new series were done

by Industrial Light and Magic.

Now traditionally ILM only did visual effects for films,

but now they're doing series

and brought their considerable talents

to episodic television under the supervision

of series VFX Supervisor Sheena Duggal.

Not a newcomer to the Marvel Universe herself,

Sheena has done second unit on a range of Marvel films

from Thor II, to Iron Man III.

The problem that Sheena and the ILM team faced

was producing the effects at feature film level

on a weekly TV schedule.

The effects range from everything you might expect

from a period drama set in New York in the 1940s,

and a huge range of effects that would obviously

only be at home in the Marvel Universe.

As we can see here, as Peggy Carter deals

with another one of Howard Stark's inventions,

complex fluid, particles, and smoke simulations,

all using ILM's Academy Award-winning proprietary tools

that required a huge range of effects

for just this sequence alone.

ILM pulls no punches in their detailed work.

Major effects shots such as the oil refinery explosion

are painstakingly crafted out of multiple layers

of practical, and primarily, digital explosions.

With smoke, fire, sparks all being added

and tracked in carefully to give the sequences

the kind of production value that audiences

have come to expect from both Marvel and ILM.

The primary challenge actually for ILM

was not the effects themselves,

but this punishing TV schedule and constant delivery dates.

To facilitate this, well-controlled green screen

and set extensions work was shot

with all of the work being filmed

by one cinematographer, Gabriel Beristain,

who Sheena had actually worked with extensively before.

Interestingly, Sheena actually worked herself

as a composer at ILM in the mid-90s.

So it's great to see ILM expanding to television,

and given the nature of this show's

particularly strong independent female lead,

it's also great to see women such as Sheena

in such a senior visual effects leadership role today.

Well don't forget to subscribe

for more behind-the-scenes action.

I'm Mike Seymour, for Wired.

(suspenseful music)

(ambient music)