The submarine (Marine One) at the beginning, was modeled traditionally, but still matching the buck they built on-set for the actors, that way, Industrial Light & Magic and Important Looking Pirates (ILP) were able to pretty much replace ninety percent of it in every shot. In many shots, they retained only the actors from the plates, then shaded the submarine with several procedural shaders in Arnold, which allowed them greater freedom of control over the texturing of the submarine, so that modeling iterations never required extensive re-uving, as they kept on adding details to the submarine model until the last minute. Creature supervisor Adrian Tsang created a really nice rig of the submarine that allowed Important Looking Pirates to reposition and reframe shots, while retaining the relationship between the actors and the submarine's bubble, that way the animators were able to really layout and re-create shots as required by director J.A. Bayona. The underwater environment started in layout and animation where the animators had proxy objects that represented the kelp, Indominus Rex bones, and lagoon floor. That way they were able to layout the environment along with the submarine and camera. When animation was done, they would cache it all out and brought the proxy geo in Houdini where Industrial Light & Magic had a procedural set-up to create the detailed floor of the lagoon, which would adapt to the position of the bones, and reshape itself accordingly. Then Industrial Light & Magic created high resolution kelp assets that lighters could instance on the scene based on layout, then rendering the whole scene in deep with volumetrics to get the underwater feeling and visibility, but this was all lit in a neutral state, meaning in CGI, they did not have any color shifting, artists used a combination of Megascan textures and models to add details to the lagoon floor.

Film

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