rigs that simulated underwater movements

but they ultimately felt restrictive so artists

replaced the majority of his performance
with a digital body double and added the
CG environment, Karathen and Arthur’s
free-flowing locks. A specially designed
700 fps shot was used in the scene where
the camera travels through Arthur's
eyes.[80][81]
Rodeo FX[edit]
Rodeo FX worked on two key sequences
for the film, with Sebastien Moreau leading
as VFX Supervisor for the film. For the
aquarium that young Arthur Curry visits
near the beginning of the film, Rodeo FX
made used a large volume of simulations
as well as algorithms for the fish behavior.
They created hard and soft corals by
developing a colonization growth system,
along with procedural stem and tentacle
generation tools. They also created the
environments for the Atlantis ruins below
the desert.Artists used a lego-type
approach to layer the environment with a
large amount of sand, dust and rocks, all of
which would realistically give way to the
characters’ interactions. From there, they
sculpted ruined buildings, bridges, towers,
statues and temples, which textured and
shaded to add depth to the ruined city.[82][83]
Scanline VFX[edit]
Scanline VFX delivered 450 shots for the
movie. Bryan Hirota served as VFX
supervisor for scanline.The main
sequences produced by them are: The
lighthouse and it’s surround environment,
the “Aquaman” title card that follows the
Boston aquarium, Aquaman pushing the
submarine to the surface and rescuing the
sailors inside, Orm’s tidal wave that
sweeps away Arthur and Tom including the
rescue and aftermath, Black Manta being
paid by Orm for the submarine’s delivery
and Arthur and Mera’s visit to the Kingdom
of the Trench. For the creation of the film's
title card the team relied on Rodeo's work
on the aquarium sequence and simulated
up to 60,000 fish. The tidal wave sequence
was realized with a large-scale simulated
wave, which was integrated with a
combination of day for night footage, blue