While walking to school as a child, Jernej Barbič would marvel at how beautiful his home was. He was born and raised in a picturesque village in northwestern Slovenia (formerly Yugoslavia), located in the European Alps. Surrounded by alpine and beech trees, Barbic dreamed of replicating their swaying in the wind for others to enjoy.

At the time, he didn’t have the tools or the knowledge to create a system that could do that, but it sparked his interest in computer graphics, he says.

Twenty years later, in 2016, Barbič, a professor of computer science at the University of Southern California, in Los Angeles, made his mark. His Ziva VFX software system allows for the creation of realistic muscle, fat, and skin simulations for 3D digital humans and creatures.

The technology was launched in 2016 by a startup he helped found, Ziva Dynamics, headquartered in Vancouver. It was acquired in 2021 by Unity Technologies of San Francisco.

Ziva VFX has been used in more than 60 movies including Aquaman and the Lost Kingdom; Godzilla x Kong: The New Empire; and Venom: Let There Be Carnage.

For the design and development of Ziva VFX, Barbič, an IEEE senior member, received a 2025 technical achievement Academy Award. It was a “tremendous honor,” he says, as the award recognizes technologies that have had a significant impact on motion picture production.

“Computer graphics and simulation can sometimes feel like a specialized technical field,” he says, “but the award showed that these ideas affect not just science but also art and how stories are told on screen.

“The digital characters enabled by mathematics become important parts of people’s lives.”

Sparking an interest in computer graphics

Barbič says he was inspired to pursue engineering by his father, an engineer who headed a cement factory’s research department and invented a technology that uses magnetic resonance imaging to test the integrity of cement. His father’s work showed him that “mathematics and physics are beautiful on their own, but engineering lets you build something that other people can use,” he says.

It was Barbič’s mother, an elementary school teacher, who introduced him to computer science. When he was 8 years old, the school his mother taught at bought a ZX Spectrum computer. With permission from the principal, she brought it home for her son to play on for two weeks. But he didn’t just play games; he created his own game using the BASIC programming language.

The machine came with a booklet that contained instructions on how to write a computer program, he says.

“At first,” he says, “I copied them verbatim without understanding what they did. But then I started realizing there is structure, and I modified the instructions.”

Of all the creatures brought to life using his technology, Barbič is particularly enamored with King Kong from 2024’s Godzilla vs. Kong.DNEG/Warner Bros. Entertainment Inc./Legendary

By the end of the two weeks, he’d developed a computer game where players guided a snowman along a winding road. It shifted unpredictably to the left or right, and players accumulated points by remaining on the road for as long as possible.

Barbič went on to earn a bachelor’s degree in mathematics in 2000 from the University of Ljubljana, in Slovenia. The following year, he moved to the United States to begin a doctoral program in computer science at Carnegie Mellon. It was a major turning point in his life, he says.

His doctoral research focused on developing simulation methods for objects that can change their shape when an outside force is applied to them, known as “deformable objects.”

That project shaped much of his later research, he says: “I became interested not only in making simulations accurate but also in making them practical: fast enough, robust enough, and controllable enough to be used in real applications.”

After earning his Ph.D. in computer science in 2007, he worked as a postdoctoral researcher at MIT. Two years later, he joined USC as an assistant professor.

Making movie magic possible

It was at USC that Barbič merged his passion for computer science with film. He developed Vega FEM, an open-source software program that allowed people to animate realistic 3D deformable objects. But Vega FEM was narrow in scope and not exactly what filmmakers needed, he says, so he started exploring how to create a version suitable for the movie industry.

“A major theme of my career has been the translation of research ideas into practical tools,” he says. “Academic research often produces beautiful algorithms, but it can be difficult to make those algorithms usable by artists, engineers, or production teams. I have always been interested in that bridge: taking rigorous computational methods and turning them into systems that people can actually use.”

In 2011 he attended an Association for Computing Machinery conference presented by its Special Interest Group on Computer Graphics and Interactive Techniques (SIGGraph). There he met James Jacobs, the creature supervisor at visual effects company Weta FX of Wellington, New Zealand. The company is behind the effects in the Lord of the Rings and Hobbit trilogies and other movies. Jacobs used Barbič’s software to create animals and fantastical creatures.

Two years later, Weta FX offered Barbič a summerlong research position in New Zealand. He accepted and spent the time studying the process of creating visual effects and learning what roadblocks existed in the film industry, he says.

At the time, the technology to create realistic soft-tissue and anatomical simulation for digital characters didn’t exist.

“The visual effects industry had reached a point where surface-level realism was not enough,” Barbič says. “A creature could have beautiful skin textures and detailed geometry, but if the bones, muscles, and fat underneath did not move correctly, the illusion would break.

“The problem was especially difficult for creatures and characters that need to feel alive: animals, monsters, fantasy creatures, or digital doubles. Their bodies may have unfamiliar anatomy, but the audience still anticipates them to move in a way that matches real-world expectations. Muscles should bulge and contract, skin should stretch and slide, fat should have inertia, and tissue should respond to motion and impact.”

In an effort to solve the problem Jacobs in 2014 approached Barbič about founding a startup. In 2015 they launched Ziva Dynamics, where they began what is now Ziva VFX.

The software uses physics-based simulations to model the internal anatomy of a character. It numerically solves the partial differential equations of nonlinear elasticity for musculoskeletal human and creature tissues, Barbič says. The equations describe how muscles, fat, skin, and connective tissue deform, interact with bones, and connect, and how muscles activate. Instead of animating only the outside surface, artists can create a model with underlying muscles, bones, soft tissue, and fat. Each component is assigned material properties, constraints, attachments, and activations. The simulator then computes how they deform and interact over time.

The technology uses ideas from computational mechanics, finite element methods, numerical optimization, contact handling, and computer graphics, Barbič says. Finite element simulation, a method used to predict how a product or structure reacts to heat and other real-world forces, provides a way to model deformable materials volumetrically, not just as surfaces, he says. The tool computes internal elastic forces and solves the equations of motion so the character’s tissues respond plausibly to animation, pose changes, muscle activation, and dynamic motion.

But the system had to be designed for artists, Barbič says. In production, he says, the goal is not only physical realism but also controllable realism.

“Artists need to direct the result, iterate, and fit the simulation into a larger animation pipeline,” he says. “So the technology had to combine scientific simulation with practical controls, robustness, and integration with visual effects workflows.”

Barbič says Ziva VFX has been used in more than 60 movies. Of all the creatures brought to life using his technology, he is particularly enamored with King Kong from 2024’s Godzilla vs. Kong.

“When King Kong is walking, you can see the muscles, how they’re very pronounced, and how they influence the shape of the skin. You can really feel the strength of King Kong,” he says. “And this was made through my software, so I think it’s amazing.”

After Ziva Dynamics was acquired by Unity, Barbič consulted for the company for almost two years.

In 2024 DNEG, a London-based visual effects and computer animation company, acquired the exclusive license to Ziva VFX.

Animating the human hand

Barbič strives to improve visual effects as an entrepreneur and an academic. His most recent research, funded by the U.S. National Science Foundation, focused on the modeling, simulation, and animation of human hands. The goal is to create computer models of hands that can be used to design tools, medical prosthetics, and robotic hands.

“The hand is a fascinating and difficult system,” Barbič says. “It contains many small bones, muscles, tendons, ligaments, skin, fat, and other soft tissues, all packed into a compact structure and interacting mechanically in complex ways.”

He and his team built a digital twin of the human hand.

He aimed to move toward “anatomically meaningful simulation,” he says. He used medical imaging, geometric modeling, finite element methods, and multibody simulation to represent the internal structures of the hand and its motions.

“IEEE lets me place my work not only in the world of images and animation but also in the world of engineering systems that must be accurate, stable, interactive, and useful.”

He worked with Bohan Wang, who at the time was a USC doctoral candidate, and George Matcuk, an associate professor of radiology. Wang is now an assistant professor of computer science at the National University of Singapore.

Barbič, Wang, and Matcuk scanned four people’s hands with an MRI machine. The two men and two women would position their hands in 12 poses, which allowed the team to gather data about how the bones, muscles, and fat move with each pose.

The data sets are available for anyone to use in their own studies.

“This project can help medical doctors learn more about how the hand is moving,” Barbič says. “It’s also great for roboticists to better understand how the human hand actually works, so [the movements] can be replicated.”

IEEE: Integral in interdisciplinary research

Barbič joined IEEE in 2008, when he published his research paper on simulation methods for deformable objects in the inaugural issue of the IEEE Transactions on Haptics. He has since published several papers in the IEEE Transactions on Visualization and Computer Graphics, which he says connected his work to a wider community interested in visual computing and computational methods. You can find his research in the IEEE Xplore Digital Library.

“IEEE recognizes the engineering side of computer science,” he says. “My work is often presented as computer graphics, but at its core, it is also simulation, mechanics, numerical methods, haptics, visualization, and software systems.

“IEEE is a community where that broader identity makes sense. It lets me place my work not only in the world of images and animation but also in the world of engineering systems that must be accurate, stable, interactive, and useful.”

He believes the organization is key in supporting a healthy interdisciplinary research ecosystem at a global scale—which, he says, is why he has served as an associate editor for Transactions on Visualization and Computer Graphics and Transactions on Haptics.

Being a member has made it easier for Barbič to connect with engineers in different fields, he says.

“My research often lives between categories: It is mathematical but also practical; visual but also mechanical; artistic but also engineering-driven,” he says. “IEEE is one of the professional communities where that mixture is understood.”