Gregory Jein Gregory " Greg " B . Jein is a multiple Academy Award nominated science fiction model - maker and artist whose work includes studio model s , props , and other artwork , such as landscape miniatures , that have appeared throughout the " Star Trek " franchise . He spent much of his time as an independent contractor operating his own model shop , " Gregory Jein Inc . " Jein was honored by SkyBox International with an individual card entry , no . 26 , in their 1993 specialty " " trading card set . " Phase II " , " The Motion Picture " and " Encounter at Farpoint " . Greg Jein , an avid lifelong fan , traces his professional connections to " Star Trek " as far back as the last quarter of , when Magicam subcontracted him to construct the first " " variant of the D7 - class studio model . Though his build has eventually been passed over for a larger version , he was nearly two years later asked by Douglas Trumbull to construct several miniatures for Spock ' s spacewalk inside " V ' ger " for , what had become , . Initially thought to be a short assignment , Trumbull again approached Jein in late July 1979 , three weeks into his initial assignment , when the realization struck that no work had been done yet on the interior " V ' ger " studio models . Officially brought in by Entertainment Effects Group , since that company ' s mother company Future General Corporation was responsible for filming the interior footage of " V ' ger " , Jein was given a mere three - four weeks to construct the various interior sections of " V ' ger " . Greg Jein had to mobilize a large group of friends and acquaintances to get the work done in time . " " We called people all over town . There were probably close to twenty or thirty of us working on it , on and off . At least four weekends we didn ' t go home at all . When it finally came out , we were still two or three days late . " " , he recalled . Bringing along a team that included novices Lisa Morton , Don Pennington , and Bill George of later Industrial Light & Magic ( ILM ) fame as pupils , they were still working on one end of the models , while filming had started on the other end . ( " Cinefex " , issue 2 , pp . 42 - 45 ) In , ILM had him work as pattern or master lead modeler on the construction of the two and six - foot studio models of the for the pilot episode of the new television series , reuniting him with his former pupil George . Apart from these , Jein was also largely responsible for the builds of the spaceborne entity model and the Farpoint station maquette . Forming Gregory Jein , Inc . . When Greg Jein was brought in for the second time on the " Motion Picture " he needed to cover legal liabilities for the staff he had brought with him , and to this end he formed on his own company , Gregory Jein , Inc . , which went dormant after he was finished on the movie and a subsequent project , continuing to work on personal title as he had done before . Upon completion of the work on " Encounter at Farpoint " , he left ILM , revitalized his company with his workshop now located at Glencoe Avenue in Marina Del Rey , California and started working as an independent contractor company for the " Star Trek " franchise . ( " Cinefantastique " , Vol 23 # 2 / 3 , p . 95 ) The build of the " D ' Kora " - class studio model for the series fourth episode , , was the company ' s first " Next Generation " commission . Among his most notable achievements during this time were the four - foot USS " Enterprise " - D , which he built for later seasons of " The Next Generation " , and the recreated USS " Enterprise " and Deep Space Station K - 7 models built for , Jein receiving his only " Star Trek " Emmy Award nomination for his visual effects work on that episode in . Gregory Jein , Inc . was the primary supplier of studio models for the " The Next Generations " series during its entire run and has produced the vast majority of the models for that series . Only during the second half of 1989 was the company not available to the television franchise , as the services of the company were exclusively reserved first by Associates and Ferren for ( with newcomer John Eaves , with whom Jein struck up an enduring friendship ) , and subsequently by Paramount Pictures for the production of ( with Ron Gress and Alan McFarland ) . For both productions the company was subcontracted by the respective lead model making companies , Jein and his co - workers being lumped together under one credit only , " Gregory Jein , Inc . " , for the first one ( according to Eaves , Jein was less than cordially treated during the production ) and as Boss Film Studios in the latter case . During that period the slack was taken up by Starlight Effects and Tony Meininger . For " The Final Frontier " , Jein and his company also constructed , besides filming models , a range of hand - held props , the most notable being the more militaristic looking 2293 Type 2 phaser , designed by William Shatner and Nilo Rodis . ( " The Making of the Trek Films " , 3rd ed . , p . 126 ) The only two other model builders called in on other occasions during those years , Science Fiction Modelmaking Associates and Jein ' s former pupil Bill George , were contracted to ease the workload on Gregory Jein , Inc . when demands for specific episodes were particularly tasking for the company . It was hot on the heels of the company ' s tenure for " Red October " , that the four - foot " Enterprise " - D model was constructed , late December 1989 , during the holiday season . During " The Next Generation " years , Jein and his company were also called in to provide with an additional range of hand - held props as well as replacing a number of Type 2 phaser he had done for the previous movie outing , but had been stolen by then . ( " The Making of the Trek Films " , 3rd ed . , p . 126 ) Aside from this , the company also constructed in the early 1990s , " Star Trek " - based display models for the restaurant - franchise , most notably that of the four - foot USS " Enterprise " - D , using the actual molds of the filming model ( with the first one turning up in the New York City restaurant , which was the first to open ) , and , out of his own volition , reference models to fill in historical gaps in official " Star Trek " lore for representation in Michael Okuda ' s 1993 official reference book , , with whom Jein struck up an enduring friendship . Even though they had created the landscape maquette for Benjamin Sisko ' s vision sequence in the pilot episode ( " Movie Magic ( TV series ) " , Season 1 , Episode 11 ) , Gregory Jein , Inc . was superseded as primary studio model vendor for and by Meininger ' s Brazil - Fabrication & Design , though his company stepped in as Brazil ' s contributions started to wane after the fourth season of " Deep Space Nine " , resuming the provision of services for the franchise on an occasional basis , the " Trials and Tribble - ations " models , and the half - scale USS " Excelsior " model for , the most notable ones . Another contribution was the crash site maquette of the in . Yet , by this time Jein had to let go of most of his staff , and relied on freelancing sub - contractors to help him out when time was once again of the essence such as in the case of " Trials and Tribble - ations " for which he sub - contracted lighting expert Larry Albright and veteran mold plasterer Gunnar Ferdinandsen . The company is no longer in existence , dissolved by Jein , and has no further officially recorded credits to its name , after the pilot episode of " Deep Space Nine " . Jein continued to ply his trade as an individual independent contractor on personal title , just as he started out as . In 1998 , for example , he worked on personal title for the model shop of Blue Sky / VIFX on the production of . Staff . While operating Gregory Jein , Inc . , his staff during the company ' s " Star Trek " years at one time or another included , among others : As was the case with several of the staff he brought with him on " The Motion Picture " , Jein ' s company served as a breeding ground for future visual effects talents . Riggs , Stuhl , and Schneider started out in the motion picture industry at Jein ' s , whereas Eaves and Kaufman were given the opportunity to further hone their budding talents . " Star Trek " model work . Models credited in full or in part to Jein and / or his company include the following : ( " This list is currently incomplete . " ) Commercial availability . At one point in time some of Jein ' s work was commercially available to the public . On , Viacom , the parent company of Paramount Pictures , opened the in Chicago , an attempt to emulate the merchandise store formula like the and . Part of its merchandise was a limited production run of twelve each of Jein models for " Star Trek " , cast by Jein ' s company from the same molds as the original studio versions . The models chosen were the four - foot " Galaxy " - class , the " D ' deridex " - class , the second ( smaller ) " Excelsior " - class , the " Vor ' cha " - class , the D7 - class , and the " Trials and Tribble - ations " version of the " Constitution " - class . They were sold in the US $ 5 , 000 - $ 10 , 000 price range apiece , and came with certificates of authenticity , signed by Jein ( the " Constitution " - class certificate also signed by original designer Matt Jefferies ) . These commercial models were , however , more crudely detailed and sported no internal lighting . The store was not a success and closed down in . That was the only time Jein originals were commercially available . Pieces that by that time went unsold ended up in Planet Hollywood restaurants or the shop at the Las Vegas " " attraction – for whose " " exhibition Jein had , incidentally , constructed an additional copy of the " Daedalus " - class model . < gallery caption = ' A Greg Jein / Gregory Jein , Inc . Star Trek work gallery ' > File : Inside Star Trek 2 . jpg | 1968 : Fan cover art " Inside Star Trek " , issue 2 File : Lisa Morton working on the V ' ger interior section models . jpg | 1979 : Lisa Morton working on one of the interior " V ' ger " model sections File : Gregory Jein and Andrew Probert discussing the orthographic plans of the USS Enterprise - D . jpg | 1987 : Discussing the orthographic plans of the " Galaxy " - class studio model with Andrew Probert ( r ) File : Galaxy class USS Enterprise - D studio model build master secondary hull details applied by Gregory Jein , Howie Weed , and Bill George . jpg | 1987 : Detailing the six - foot " Galaxy " - class model secondary hull master at ILM with Howie Weed ( c ) and Bill George ( r ) TNG : " Encounter at Farpoint " File : D ' Kora class studio model receiving additional detailing . jpg | 1987 : Morton at work on the " D ' Kora " - class studio model File : Galileo type shuttlecraft 2 . 5 studio model worked upon by Dana White . jpg | 1989 : Dana White working on the two - and - a - half foot " Galileo " - type shuttlecraft studio model File : Galaxy - Class 4 - foot studio model build - up process , detailing by Dana White . jpg | 1989 : White putting the finishing touches on the four - foot " Galaxy " - class model File : USS Princeton and Firebrand , production photo . jpg | 1990 : White ( front ) with the model of the and a staffer holding that of the File : Greg Jein with D ' deridex studio model . jpg | 1990 : Working on the second studio modelTNG : " The Defector " File : Gregory Jein discusses Vor ' cha . jpg | 1990 : Explaining the build if the " Vor ' cha " - class model File : Greg Jein with Dyson sphere model . jpg | 1992 : Posing with the interior maquette of the Dyson sphere File : Bruce MacRea working on the Remmler Array . jpg | 1993 : Bruce MacRae working on the Remmler Array File : Dan Curry and his TNG All Good Things . . . VFX team . jpg | 1994 : Jein ( r ) , his modified anti - future " Enterprise " - D model , and the VFX team at Image G < / gallery > Cameo . Jein provided photographs of himself in a baseball jersey to be used on a prop piece of artwork : Benjamin Sisko ' s baseball card depicting Buck Bokai in . Keone Young was later chosen to perform the role in the episode . Many DS9 crew members were astonished by the physical similarity between the two men , although the producers maintained that this was a coincidence , and that they had simply cast the performer with the best acting ability . ( " " , p . 54 ) The card itself had been on display in the " The History of the Future Museum " exhibition at the " Star Trek : The Experience " attraction . Being a fan . As a fan , he provided art work in 1968 for the fanzine " Inside Star Trek " , among others the cover of issue two , continuing to do so for the fanzine " T - Negative " and the book " Avon ' s 8 " , a fan - produced anthology of the British science fiction series " Blake ' s 7 " , of which Jein was also a big fan . An influential piece of fan work was , when he wrote up an analysis of starship registries for the issue of " T - Negative " , " The Case of Jonathan Doe Starship " , in which he matched known and assumed names of starships to the , otherwise unrelated list of registry numbers seen in Commodore ' s office in the " Original Series " first season episode . He also established that the designation had become in vogue , at least behind - the - scenes , replacing the somewhat nondescript " Starship " - class designation , though actual canon references only became apparent years later in the live - action franchise . This list of starships with registry numbers became popular among fans , and eventually FASA role - playing game incorporated it into their sourcebooks . Michael Okuda , a fellow " Original Series " fan and who became aware of Jein ' s article when both men were working on " The Undiscovered Country " , adopted the list as a well - meant courtesy from one fan to another , for the official " Chronology " / " Encyclopedia " of 1993 / 4 , and for which Jein , incidentally , had built the above mentioned reference models . Many of the registries became canon with the remastering of the " Original Series " in , when Okuda , serving as visual effects supervisor for the upgrade , married , where applicable , most of Jein ' s numbers to their respective ships . One of his registry numbers , that of the , had already appeared previously on - screen in the 2005 two - part season four episode , of . Aside from this , Greg Jein has always been an avid movie memorabilia collector , and it was through his attendances at conventions in the 1970s , and subsequent acquaintances , that model makers like Lisa Morton , Don Pennington an Bill George got their first shots in the motion picture industry , as the first has attested to . ( " Sense of Scale " ) An avid live - long fan of " The Original Series " , Jein owns , aside from all the series ' script treatment versions , several props and studio models from that series , including the original " Galileo " shuttle model , he was gifted upon its discovery in the studio in 1987 , as well as the " Botany Bay " model , both of which he had loaned out for display to the last " Equicon Science Fiction Convention " of 1 - 3 April 1988 , held in Los Angeles , and subsequently to the ' s 1992 - 1993 Star Trek Smithsonian Exhibit and its 1993 - 1994 follow - up exhibition at the Hayden Planetarium , New York City . Jein also provided several screen - used " Original Series " captain ' s chair ' s buttons , given to him by " Original Series " Visual Effects Supervisor Jim Rugg , for the recreation of the partial " Original Series " bridge , featured in the " Next Generation " s sixth season episode . ( " Cinefantastique " , Vol . 24 , issue 3 / 4 , p . 26 ) In , Jein served as technical adviser on James Cawley ' s fan - made internet series " Star Trek : New Voyages " ( since rechristened " Phase II " ) episode " World Enough and Time " , which featured , Jeffery Quinn , George Takei , Grace Lee Whitney , Majel Barrett Roddenberry , and John Carrigan . Career outside " Star Trek " . Other projects he worked for included among others the motion picture productions , not few of them considered science - fiction classics , ( 1974 ) , " Flesh Gordon " ( 1974 ) , ( 1977 , working as sub - contractor for Douglas Trumbull ' s Future General Corporation ) , and ( 1979 ) , which was the movie directly preceding his ( second ) participation in " The Motion Picture " . Directly after " The Motion Picture " , he revisited " Close Encounters " , still as " Gregory Jein , Inc . " , for its 1980 " Special Edition " , bringing along several of the staffers he had with him while working on the former for additional studio model work , after which his company went dormant until " The Next Generation " . Again as an individual contractor , he has subsequently worked on ( 1980 ) , " War of the Worlds " , " The Blob " ( both 1988 and by then as his revived company ) , and after modern " Star Trek " , ( 2002 ) , ( 2005 ) , ( 2009 ) , " The Adventures of Tintin " ( 2011 ) , and more recently " John Carter " ( 2012 ) . Another project he worked on was ( 1984 , 2002 with several " Trek " alumni including Denise Okuda , Christopher Lloyd , Mark Stetson , and Robert Ito , among others ) . Television movies and series , he worked upon included among others , ( 1983 ) and . Around the time Paramount Television developed " Deep Space Nine " they had concurrently another science fiction television series in development , called " The Osiris Chronicles " , and conceived in order to capitalize to the fullest on the renewed interest in science fiction at the time . For the pilot episode " " , it was Jein ' s company that created the studio models , based on the designs of Jein ' s former pupil John Eaves . The series however , was not picked up and the pilot episode remained the only one produced . The fact that Jein and his company were slated to become the primary model vendor for this series , might explain why he was not retained for " Deep Space Nine " , or that he was awarded the commission as compensation for losing the " Star Trek " account . Some of Jein ' s builds for the series later turned up in various 2008 " It ' s A Wrap ! sale and auction " s as lots , and , alongside the otherwise exclusively " Star Trek " lots . Jein was nominated for the Best Visual Effects Academy Award in and for his work on " Close Encounters of the Third Kind " and " 1941 " , respectively . Jein also received no less than three consecutive nominations for the ADG Excellence in Production Design Awards , for " Avatar " ( 2010 ) , " Alice in Wonderland " ( 2011 ) , " The Adventures of Tintin " ( 2012 ) , winning the first one . He was also nominated for an Emmy for his effects work on the HBO mini - series , " Angels in America " . Greg Jein is prominently featured in the 2011 documentary " Sense of Scale " , in which several model makers discuss their craft , with Jein discussing , among others , his contributions to " The Motion Picture " and " Trials and Tribble - ations " , and which also features Ron Gress , his former co - workers Lisa Morton , Scott Schneider and Bruce MacRae , Pat McClung and Gene Rizzardi . Emmy Award nomination . For his work on " Star Trek " , Jein received the following Emmy Award nomination as Model Maker in the category Outstanding Achievement in Special Visual Effects : " Star Trek " interviews . A reticent , modest and private man , interviews with Greg Jein , be it on screen or in writing , are relatively sparse .