Gary Kerr Gary Kerr was officially credited as a " Technical Consultant " to the production of the 2006 remastered version of , as part of the CBS Digital team . It was his first official " Star Trek " credit , though his involvement with the official franchise had previously already extended beyond the single credit . " Star Trek " affiliations . Kerr , a science fiction fan and a enthusiastic modeler , made , during his adolescence the acquaintance with the likes of , for example David Merriman , Jr . , a professional modeler based in Virginia Beach , Virginia , who regularly worked as a sub - contractor for other professional modelers , they themselves working for the motion picture industry . Two of them were " Star Trek " alumni Ed Miarecki and Gregory Jein , to whom Kerr was introduced by Merriman . With Jein in particular , Kerr was to develop a friendship . Beginnings as " Star Trek " fan . Thanks to the introductions , Kerr was invited by Miarecki in 1991 to visit his company , Science Fiction Modelmaking Associates , as he was about to receive the eleven - foot " Enterprise " studio model , as well as two other studio models from the " Original Series " : the D7 class model and the ( ex - ) , that had been converted into the space cruiser " Aurora " . Miarecki had been contracted to restore these models as well as to cast a new replica of the original Tholian ship from the " Aurora " . All four models were slated to appear the 1992 ( NASM ) " Star Trek Smithsonian Exhibit " . Kerr and a friend , Richard Shafer , stayed at Miarecki ' s company for three days , helping out with the disassembly of the " Enterprise " model . For his own personal edification Kerr made numerous photos and measurements , a consequence of a life - long fascination with the model . ( " Sci - fi & fantasy modeller " , Vol . 26 , pp . 34 - 37 ) Over the next couple of years Kerr expanded upon his knowledge by collecting as much data on the model as he could , which in the pre - reference book and pre - DVD age was rather limited at the time , though even getting input from the original studio model builder , Richard C . Datin . An invaluable source of information for Kerr was , the now defunct , website " " of William S . McCullars , a fellow studio model aficionado with whom he exchanged large amounts of data . Through McCullars ' website , he also made the acquaintance with Finnish " Star Trek " fan , Petri Blomqvist , a digital modeler who constructed CGI models of the " Star Trek " ships in some of the earliest software available to the general public . Kerr cooperated with Blomqvist too , and some of Blomqvist ' s work has been featured on " The IDIC Page " . Like Kerr , Blomqvist too , was to play a role of note for the franchise in the years to come . First , uncredited , official " Star Trek " assignments . In 1996 , Kerr was unexpectedly contacted by Jein with a request for information . Jein was in search of detailed construction blueprints he needed for the construction of the 5 . 5 foot " Enterprise " studio model for the upcoming fifth season homage episode episode . Kerr , to the best of his knowledge did not know of the existence of any , but volunteered to make these himself for his friend , confident he had enough measurement data to do so . It was Kerr who suggested the half - size scale , as it would make blueprinting and construction more expedient . Kerr soon realized however , that he somewhat overstretched himself , as he found out that he was still missing data . Reaching out to Miarecki again , he was able to get some of the missing ones , even obtaining resin castings and vacuformed parts Miarecki molded from the original model , but only at the eleventh hour , as Miarecki was knee - deep involved with the construction of the " Enterprise " - E studio model at the time . Working throughout the summer in his spare time , he had to do the blueprints by hand , as Kerr did not own CAD - software . " " I got all my measurements together , and every night after work I ' d sit down at the drafting board . Greg needed the basic shapes of the saucer , the engines , and the hull . I ' d draw some plans , go to Kinko ' s to make copies and send them all off to him , and then I ' d go back to the drawing board . " " , Kerr remembered . ( " " , p . 36 ) Still missing some detail measurements , Kerr later conceded , " " There was a lot of guesswork in the " Trials and Tribble - ations " , and in retrospect , they weren ' t perfect ; however , they still turned out to be reasonably accurate , and I thought the model looked great onscreen when the episode aired on November 4 , 1996 . " " Kerr received no credit for his efforts , but in recognition for the service he had provided for Jein , Michael Okuda personally invited him to visit the Paramount Pictures lot to witness a day in the production of the episode . There he made the acquaintance with future collaborator Doug Drexler , as well as with Herman Zimmerman and Gary Hutzel , and made visits to the Art Department and Image G , seeing the final product of his contributions put through its paces . ( " Sci - fi & fantasy modeller " , Vol . 26 , pp . 40 - 41 ) Based on the strength of his work for Jein , Kerr was in 1999 invited by Mike Okuda to participate on the forthcoming reference book , " Starship Enterprise " , a book that chronicled all " Enterprise " incarnations in the " Star Trek " universe , slated for a 2000 release . It was on this occasion that Kerr decided to draw his blueprints with his recently - acquired AutoCAD software , learning how to use the software as he went , largely motivated by " sheer terror " . Okuda arranged for Kerr to visit the original " Enterprise " model for a second time in order to get the data he was still missing . Kerr spent three days documenting the model at NASM ' s Garber Preservation , Restoration and Storage Facility in Suitland , Maryland , where the model was stored after its 1992 - 1993 display and prior to the permanent display in the museum ' s gift shop in 2000 . Kerr was assigned to provide the orthographic blueprints for the book , and he was working , again in his spare time for months , on the last of these , those of the , when the book project was canceled . Okuda , though , arranged for Kerr to be paid for the work he had already done . Nevertheless , two of his blueprints , those of the and ( the original studio model construction blueprints and orthographic plans of which , gifted to him by Jein and Rick Sternbach ) , did turn up as centerfolds in some of the later " Star Trek " calendars . Also involved on the project was friend Petri Blomqvist , with whom he has kept cooperating by sharing the information he accumulated , and who was brought in as well by Okuda , on recommendation of Kerr . ( " Sci - fi & fantasy modeller " , Vol . 26 , pp . 40 , 44 ) In the following years , Kerr kept refining his blueprints in conjuncture with Blomqvist , who in turn kept refining his CGI models , and three years after the canceled book project Kerr was contacted by Doug Drexler when he sought out input for the build of his CGI original " Enterprise " , he was constructing for use in the " Star Trek : New Voyages " fan film s . Aside from providing him with the measurements , Kerr also brought Drexler into contact with Blomqvist , who was able to help out Drexler by bringing in the geometry into his model . Drexler , as visual effects supervisor , in turn , submitted Kerr ' s and Blomqvist ' s work the subsequent year as reference to Eden FX , where Koji Kuramura was constructing a CGI version of another vessel , the for the fourth season episodes and . Co - worker Robert Bonchune , who was responsible for mapping and lighting the model , elaborated , " " Any ship dimensional reference material we needed was provided by Doug Drexler as well as Koji ' s own research . I know Doug is good friends with Gary Kerr , so I am sure that made it ' s way to us through him . As for the Petri help , Koji used his shape for the back end of the nacelle cap as a reference piece . We needed it built differently . " " Becoming officially reacquainted with " Star Trek " . It was in 2006 that Kerr was again contacted by Mike Okuda , when CBS Digital started to run into troubles with the production of the remastered " Original Series " . Initially , CBS had decided to build the CGI models for the project themselves , despite the fact that several professional parties had made pitches for the commission . But due to strict release schedules , CBS was forced to rely on a third party " Enterprise " CGI model after all , and a candidate was sent to Kerr for evaluation by Okuda . Kerr discovered that the model was lacking in accuracy and sent his findings to Visual Effects Supervisor Niel Wray . Wray concurred , and was desperate to come up with a replacement . It was then that Kerr suggested Petri Blomqvist ' s model , a model he knew had been refined for over a decade by that time . It was Blomqvist ' s model CBS bought and used in the remastered series , and since his model was based on Kerr ' s blueprints , it has earned them both their official credit . ( " Sci - fi & fantasy modeller " , Vol . 26 , pp . 48 - 49 ) Kerr also provided other services to the production , among others reference material for the Deep Space Station K - 7 , stemming from his vast archive . Later ( un ) official " Star Trek " contributions . Kerr ' s intimate acquaintance with the original " Enterprise " studio model , was not only a valued sought after commodity for the franchise , but was also solicited by model and model kit manufacturers , Polar Lights in particular ( and whom he had already consulted previously on their earlier 1 : 1000 " Enterprise " model kit ) , who hired Kerr as a consultant for their design of the 2012 highly detailed 1 : 350 scale model kit , No . POL880 , of the vessel ( being the same size as the original three - foot studio model ) . Jamie Hood , Polar Lights brand manager , has stated , " " Gary ’ s involvement in the new kit design has been a tremendous asset . His extensive knowledge has allowed us to add intimate details to the model . This kit will be the most accurate representation of the ship produced since the original filming model . " " Prior to Polar Lights , Custom Replicas ( the model company of Jim Key ) , Art Asylum and Master Replicas solicited the help of Kerr for their original " Enterprise " models , the latter two being referred to Kerr by Okuda and Jein , respectively . Starting in 2012 , Kerr has written a four - part article for the UK magazine " Sci - fi & fantasy modeller " that chronicled in detail his personal involvement with the USS " Enterprise " NCC - 1701 , including his personal experiences with " Star Trek " production staffers , CBS Digital and Polar Lights . In 2017 , he followed up with a detailed three - part article for the same magazine , detailing the history of the 11 - foot model , from its original construction through its latest restoration in 2016 . In 2013 , Kerr was contacted by Will Smith , a CGI artist working on the " Star Trek Continues " web series , who needed blueprints of the original 1 / 12 scale hangar bay miniature set so he could construct a CGI set . Kerr researched the design of the original set and drew blueprints of it , which earned him his second entry into the International Movie Database ( IMDb ) , as " Special Technical Consultant " . In the years since then , Kerr has consulted on additional " Star Trek " projects , such as a 2015 Christmas ornament for Hallmark . A noticeable consulting contribution Kerr made in this period of time , was for the Eaglemoss Collections die - cast " " replicas , issue 50 , the original " Enterprise " in particular . The project manager for the partwork publication , Ben Robinson , recalled how Kerr was brought into the project , " " Every ship we work on gets a lot of attention , but when it came to the original Enterprise , I knew that we had to go the extra mile . We used Rob Bonchune ’ s CG model as the basis for the digital sculpt , but when the factory ’ s version came in , I knew it was too important for me to check over alone . I asked around , and everyone from Mike Okuda to Doug Drexler and Rick Sternbach pointed me to one man : Gary Kerr , who they told me was the expert on the original ship . Gary was kind enough to go over our version and mark up all the corrections . I ’ m sharing a selection of them with you because I wanted to show you how great Gary has been and because I wanted everyone to know that we take our responsibilities very seriously . I can only imagine what Matt " [ Jefferies ] " would make of it . I got to know him fairly well back around the turn of the century and I ’ m sure he would have smiled at the idea that people would be so passionate about his design . " " Robinson afterwards went the extra mile by reiterating his appreciation on his twitter account , " " Enormous thanks to Gary Kerr , who offered so much help on this and such brilliant advice . No one knows more ! " " , having added , " " ( . . . ) the man who knows more about the Enterprise model than anyone else . " " Kerr consulted with Adam Schneider on the restoration of the original mock - up of the Galileo shuttlecraft and provided PDF files of the craft ' s exterior markings . As a result , his initials were added to a commemorative plaque on the starboard side of the restored mock - up , which is now displayed at Space Center Houston . In November 2014 , the Smithsonian ' s National Air and Space Museum invited Kerr to be a part of their Special Advisory Committee , which consisted of a host of former " Star Trek alumni , " for the restoration of the original 11 - foot " Enterprise " model . Kerr was flown to the museum ' s Udvar - Hazy Center in May 2015 , to participate in the committee ' s first in - person meeting . Coming full circle in more than one way , Kerr was ( understandably perhaps ) not able to resist enthusing in January 2015 when he received his commission , " " I can finally announce The Big Secret : I ’ m part of the Smithsonian ’ s Special Advisory Committee on the restoration of the original 11 - ft model of the Starship Enterprise . The old girl is going to undergo some structural and cosmetic surgery so she ’ ll be around for another 50 years ( at least ) . " " Pursuant his involvement with the restoration , which was completed in late June 2016 , Kerr started on his detailed three - part article for " Sci - fi & fantasy modeller " , though it had to be eventually truncated to a two - part article due to the unexpected cessation of the magazine publication , with Kerr having to forgo on writing on the 2014 - 2016 restoration .