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Multiple environments, Digidoubles and water sims.
Digital Batcaves, Batmobiles, and... Batbats?
The CG mutated offspring of Lex Luther and General Zod and CG capes, capes, and more capes!
Here are some of the 'Super' VFX that went into Batman versus Superman.

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Scanline was given the task (amongst others) of creating various vignettes of Superman saving people.
This included:
- A Colorado flooding vignette that was actually filmed on a studio backlot in Michigan, Where real rooftop sets were built and additional digital ones were added later, along with the set extensions and water simulations.

- And a failed Soyuz launch scene where they had to build a digital version of the Balkinour Cosmodrome and include simulations for the launch and subsequent failure combined with pyro elements.
Here, Superman's Digidouble flys forward, and just as he lands he's switched with the plate photography of the actor holding up this weighted green prop in front of a green screen.

A real full-size working Batmobile was actually built for the movie and the VFX team was given access to it before it was shipped to Michigan for shooting.
They took LIDAR and photographic references which they used to create the digital version of the Batmobile and then they used footage of the real car driving about as reference material to know how the CG version should behave.
They also built this reinforced version to be used in the stunts which became known as the 'Smash'mobile.

The Batwing however, was more complicated, they only had concept art and models to use as a reference because only a small portion of the cockpit was going to be built physically.
For the end design of the Batwing the VFX team actually worked from the inside out, first, they identified the systems the craft would need:
- Vertical takeoff and landing,
- Functional aerodynamics,
- And the weapons, then, they looked for reference material for each system, like the central jet system on the Lockheed Martin F-35 Lightning II, and the aerodynamics on the Northrop Grumman X-47B, they then added these systems to their model and sorted out the functionality issues of getting each system to work with each other and look good whilst doing so.

MPC dealt with the actual fight between Batman and Superman and the final fight scene with Batman, Superman, Wonder Woman, and Doomsday.
Because of the nature of the scenes, MPC knew they would be constantly switching between the real actors and their Digidoubles and so their Digidoubles had to be extremely high quality, able to stand up to some full-frame face shots at IMAX resolution, for this, they had to push their technology further than they ever had before.

They made multiple LightStage face expression scans of the actors with Gentle Giant Studios, they captured MOVA scans for additional blend shapes and transitions, they even invented something they called the "ShandyCam" which was a portable rid with 6 DSLR cameras that allowed them to grab synchronized photos of the actors on a shot per shot basis so they could be fed into their facial expression library.

All this work made for some pretty believable visual effects even if the movie itself wasn't quite as convincing.

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