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Antique Robots

Case studies

Selected work, in context.

These are examples of production experience carried by the leadership behind Antique Robots — directing, producing, physical production, cinematography, design, virtual production, editorial and visual effects. Each case names the people involved and the sources that support it.

  1. The crew of Star Trek: Starfleet Academy shooting a desert scene with a camera crane inside the production's LED volume at Pinewood Toronto Studios.

    Star Trek: Starfleet Academy — LED volume at Pinewood Toronto Studios. Photo by John Medland, courtesy of Paramount+, via American Cinematographer

    Star Trek: Starfleet Academy · Paramount+ · 2026

    Starfleet Academy — virtual production and visual effects

    Jason Zimmerman discusses Star Trek: Starfleet Academy in American Cinematographer's February 2026 issue, and breaks down the season's visual effects on the befores & afters podcast.

    Team: Jason Zimmerman

  2. Landing party in a bioluminescent Gorn hive environment from Star Trek: Strange New Worlds season three.

    Star Trek: Strange New Worlds S3 — image courtesy of CBS Studios, Inc., via VFX Voice

    Star Trek: Strange New Worlds · Season 3 · 2025

    Strange New Worlds S3 — practical first, virtual where it expands the world

    A mature production method in which practical builds, actors, graphics, virtual production and visual effects are chosen shot by shot.

    Team: Jason Zimmerman · Brian Tatosky

  3. A shuttle craft racing low over a dust-blown alien surface, from Star Trek: Discovery.

    Star Trek: Discovery — image via fxguide's interview with Jason Zimmerman

    Star Trek: Discovery / Strange New Worlds · Virtual production

    Star Trek: Discovery / Strange New Worlds — virtual production at scale

    Bringing environment decisions forward into photography, so filmmakers work with more of the final image on the day.

    Team: Jason Zimmerman

  4. Chiwetel Ejiofor as Faraday holding a levitating alien object in a desert landscape, from The Man Who Fell to Earth.

    The Man Who Fell to Earth — photo credit SHOWTIME; photos by Aimee Spinks and Rico Torres, via American Cinematographer

    The Man Who Fell to Earth · Showtime · 2022

    The Man Who Fell to Earth — one visual language across departments

    A character drama whose world had to be built, in which photography, design and visual effects were developed as a single visual language.

    Team: Jason Zimmerman · Aleksandra Kochoska Dekovic

  5. Camera crew and cast shooting an icy alien landscape inside the LED volume on Pixomondo's virtual-production stage in Toronto.

    LED volume on Pixomondo's Toronto stage — photo by Marni Grossman, courtesy of Paramount Plus, via American Cinematographer

    Toronto virtual-production stage · Production infrastructure

    Feature-scale worlds on episodic schedules

    What it takes, on the production side, to make a permanent LED volume behave like part of the filmmaking process rather than a piece of equipment.

    Team: Jason Zimmerman

  6. Brian Finch (Jake McDorman) leaping across the tracks of the 14th Street–Union Square subway station in the Limitless pilot.

    Limitless — CBS series premiere publicity photo, credit CBS, via Give Me My Remote

    Limitless · CBS · 2015–2016

    Limitless — storytelling at television speed

    A network series shot on New York locations, where the visual effects were built as part of the show's storytelling grammar rather than as spectacle.

    Team: Doug Aarniokoski · Jason Zimmerman

  7. Five survivors walking down an empty highway under flat grey sky in The Day: Shawn Ashmore, Ashley Bell, Shannyn Sossamon, Dominic Monaghan and Cory Hardrict.

    The Day — publicity still, credit Anchor Bay, via NPR

    The Day · Feature film · 2011

    The Day — making the constraints part of the movie

    A feature directed on real locations in punishing conditions, where the physical circumstances of the shoot became part of the film's character.

    Team: Doug Aarniokoski

These productions predate Antique Robots. They are presented as experience carried by the individuals named, not as work produced by the company.

Interviews & coverage

Selected published interviews with the people who lead Antique Robots. Not an exhaustive list.

If you would like to see comparable work for a project like yours, tell us what you are making and we will send relevant material directly. Full credits are on the work page; awards and nominations are listed under Recognition.