Prime Focus used its proprietary Krakatoa for its Nanomites in the climactic sequence in Washington, D.C.

In addition to providing previs for the aerial sequence, Prime Focus artists, with supervision from Bond and Harvey, built a Nanomite animation pipeline using Krakatoa, along with Autodesk 3ds Max, to render out the billions upon billions of particles that make up the Nanomite cloud. Functioning as an intelligent swarm, the Nanomites are able to track their movements to avoid retracing their steps, leaving no metal untouched until whatever they're consuming crumbles and collapses. To produce this complex destruction, Prime Focus created a series of particle systems, shader networks, and procedural level set tools that would all talk to and affect each other. This created a true geometric volume with thickness and surface properties that would be eaten, rather than paper-thin transparency texture maps.

The Landing Platform was the most challenging shot for CIS Hollywood, which pushed its CG pipeline for characters, environments, vehicles, water, fragments, fire, smoke, dust and ice.

Meanwhile, CIS Hollywood completed 263 shots. "Some of the sequences we worked on for the movie were Scarlett's Invisibility Suit, flaming NeoVipers in the Training Pit, The Landing Platform, the Elevator Platform, G.I. Joe Submarine Landing (with polar bear from MPC), interiors and exteriors around the Cobra base in the polar ice caps, the G.I. Joe Training pit, the Molepods, some day and night desert shots, pulse weapons effects and Baroness' and Stormshadow's escape via jetpack from the G.I. Joe base," explains Joe Henke, digital effects supervisor.

"The Landing Platform was probably our most challenging shot. We had to create a giant subterranean hangar populated with soldiers and vehicles that gets established as the camera descends with a Howler. The cut length ended up at a little over 700 frames. This shot had to set the tone that the G.I. Joe base was incomprehensibly huge and alive with technology and training. We started with the production's concept art and dressed the environment with CG versions of elevators, rock walls, control towers, repair hangars, vehicles, props, dust, shaft of light and soldiers with different uniforms. We also used live-action elements such as steam, sparks and dust. Midground soldiers were extras shot on greenscreen and placed on cards in the 3D environment. Lastly, the doorway of our CG Howler had to line up with a greenscreen shot of a practical Howler doorway from which Duke, Ripcord and the Joes exit.