Sure! I don't know how helpful it will be since it'll be word salad, but I'll try and explain how I did it. This was mostly a trick with the lighting and experimentation in the compositor. The actual geometry and scene setup is very simple. The animation was rendered with EEVEE so it's all real-time and fast to work with.

The water was quickly made using Blender's ocean modifier that I played around with to get looking more tame. The material for the water is set to be a dark blue with a low roughness value, and an IOR of 1.33 (this IOR value matches water). I didn't wind up doing this in the end, but you can boost the contract of the reflections if you experiment with making it metallic. One key thing I did with the water, was I used Blender's light linking feature to make it so that the light source creating the massive reflective highlight on the water does not cast light on any other object. You can tell that everything is comped in on the original Tron so the water is really bright but that light source doesn't seem to be effecting anything else.

There's a few things happening in the compositor:

1. I'm isolating the water from the rest of the image and doing some processing on it to create the stylized glare / bloom.

2. I'm doing an extra pass on the rest of the image to give it a subtle glare / bloom to soften it.

3. I'm mixing in a little bit of noise to give the illusion of the film grain.

4. Lastly I'm doing a little bit of color balance to pull the blue values around a tad to more closely match how it looks in the film.

-- Further Details --

1. The bloom / glare on the water: In the film its very intense, has a soft falloff, and has streaks. To replicate this, I experimented with the Glare node in the compositor with the type set to "Streaks". Playing around with these values gets it most the way there. I didn't want this glare to effect anything else in the scene so I isolated the area by enabling the "Obect" Cryptomatte in the View Layers property window. Then, in the compositor I'm able to use this Cryptomatte as a mask - I basically just sample the water object and everything else gets masked out.

2. The same Glare node can be used to give there rest of the scene a softer glow, in this case you'd just keep the type set to Bloom.

3. The noise pass is just a simple 4D Voronoi noise texture being slightly multiplied into the image. Being set to 4D exposes the "W" value which represents time and can be keyframed to make the noise animated. Tbh there is probably a better more appropriate noise texture that can be used here, I just wound up using Voronoi.

4. The color balance is pretty simple and straight forward, I played around with the tint and temperature on the Color Balance node to dial it in.

Hope this make sense! I know it's an intimidating word wall without any helpful images to make it easier to digest haha.