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DNEG was Fast and Furious 10's main VFX partner and (in addition to some smaller ones) they handled two major sequences in the film:
the Rome Rolling Bomb sequence and the Portugal chase in the third act involving the Cannon Car sequence, the Car Jump, the Tunnel Grab, and the Highway Chase sequence.

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An interesting thing about the Rome rolling bomb sequence was that it was shot in a lot of different locations, some was shot in Rome, some in Turin, and because the sequence has a certain pace to it, some of the locations had to be compressed distancewise. So, the final route the sequence followed isn't actually true to real life.
They had to combine these two locations to create the Rome environments, either by altering the plates shot in Turin and adding Roman features or by enhancing the plates shot in Rome.
For obvious reasons, they couldn't just drive a car and roll a 1tonne ball down the real Spanish Steps in Rome, so they recreated the steps on a studio lot in London to shoot the ball and car portion of the action and then shot the liveaction portion in Rome.
Then they composited both shots along with additional CG pyro elements, smoke, dust, and a CG Fountain Della Barcaccia.
For the explosion they started by referencing both nuclear and underwater explosions throughout history and their final explosion was a hybrid of both. From their references, they learned that these kinds of explosions generate a lot of dust, and visually that dust overtakes pretty much everything else. So, the building destruction around the explosion became almost secondary and the final look was really the overwhelming dust that is created by these types of big explosions.
For the shockwave sequence, they looked at reallife references of tornadoes and hurricanes that reach up to 150 mph. They referenced what would happen to the trees, the buildings, and the water, and then tried to recreate something similar.
The 6 carabinieri police cars had explosive rams set underneath them and these were set off in sequence, whilst Dom's car was set on a rig designed to lift it up onto its front bumper and then drop it safely back down again.
These rigs and rams were then painted out and both the explosion and shockwave were created in Houdini with lots of different passes to determine the different types of debris, building destruction, the water simulation, spray and waves, and the dust from the ground.
BeloFX were involved in various sequences including Agent Aimes’ hightech, minimalist briefing room, some digital set extensions for the Toretto house. The lift shaft fight sequence that occurs as Cipher is escaping from her highrise building. Jakob and Lil’ B’s escape in their canoeturnedplane.
The big fight that happens between Letty and Cipher in the medical lab as well as the medical robot which was a practical robot in wider shots where you don’t see it moving.
But for the closeups and animated shots, they built a digital version based on lidar scans and photography of the practical model.
They then augmented it, adding new tools and details to create a bit more movement and interest in the shots and adding a little HAL reference in there too.
They also worked on the escape from the black site and the endless icy environment where Letty and Cipher are greeted by a cresting submarine breaking through the ice.
The icy environment was created and rendered in Unreal Engine this enabled them to quickly block in mountain shapes and easily jump around camera angles, making it easier to find a composition that worked across all shots.
Once they had the base environment, they generated a library of FX simulations, of snow dust and other particulate being blown around that they could mix and match depending on the shot.

Lighting the sequence was more complex.
They had to balance a stronger sunlit directional look for the wide shots ( like where the submarine is cresting through the ice) and balance that with some closeup plate photography that was shot under more overcast conditions.

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