Borg cube model The introduction of the Borg in the second season episode of s episode , has proven to be a milestone in the " Star Trek " franchise , as they represented an adversary unlike anything seen before and rarely after . The uncompromising , implacable and daunting nature of the race warranted a formidable ship to match that nature , and they have received it in the form of the Borg cube . The fascination with the race and their vessel led , apart from its appearances in " The Next Generation " , to repeat performances in , featuring an upgraded cube design , the pilot episode of , and in the television series , where the Borg and their vessel made several appearances . Original Borg cube model . The distinctive design of the original Borg cube , has spawned a far more sophisticated version at a later point in time , as well as derivative design in the form of the Borg tactical cube for " Voyager " . Starting out as an array of physical studio model s , advances in computer technology resulted in the addition into the fold of digital ones as well . Design . The original concept for the Borg cube was conceived by Writer / Producer Maurice Hurley and designed by Production Designer Richard James . The original studio model was built from " " the simple embellishments that Rick Sternbach and Richard James had created based on the description of the cubical ship given in the script . " " ( " " ; ) The final draft of the for " Q Who " read , " " The shape of the ship is more apparent . It ' s box like , with none of the aerodynamic qualities associated with most spaceships including the Enterprise . This is a case of form following function . " " A rudimentary foam core study model , measuring 9 inches squared , was later offered as Lot 1305 in the Profiles in History " Hollywood Auction 40 " of 12 June 2010 . Valued at US $ 800 - $ 1 , 200 , it sold for US $ 900 , ending up in the collection of noted " Star Trek " memorabilia collector Adam Schneider . Original physical studio model . Regular studio model vendor Gregory Jein , Inc . had been requested to bid on the project , but that company ' s capacity was at the time taken up by Associates and Ferren for the production of . The bid to build the Borg ship , along with the melting section , " Enterprise " force perspective saucer model and the " Enterprise " Core Sample , was therefore awarded to Kim Bailey of Starlight Effects , who was contracted by Producer Peter Lauritson to do the build for " Q - Who " , and authorized by ( the then head of Paramount Studios ) . At Starlight Effects , the model was essentially scratch - built layer by layer from custom shapes created by union model makers to make up the inner surface , then was covered with acid etch brass ( that was hand drawn and then etched ) to create the intricate surface detail applied in multiple layers and lit from within . Each layer was applied as a separate element and built by a crew of twelve model makers led by Gene Rizzardi and Jim McGeachy . The model mount or inner support structure was also a custom built aluminum six point mounting system to hold the model that incorporated a custom model mount rig for Image G , where the model was filmed . The final weight of the Borg cube came to a astounding sixty pounds once completed . As for the final colors , they were chosen by Bailey , who hired model maker Roger Sides of Science Fiction Modelmaking Associates to do the finish detail scaled weathering . The three - foot model was used in " Q Who " , both episodes of , and . Due to its shape , no more than three sides of the cube could be shown at any given time on screen , yet the model is fully detailed on 5 sides with the sixth being left open ( requested by Visual Effects Supervisor Dan Curry ) , allowing the handlers easy access to the innards of the model for adjusting lighting and the like . An added advantage for the handlers of the model was the simpler mounting of the model for its shots . While recognized as an imaginative design , Visual Effects Supervisor Rob Legato found the model hard to shoot , " " That , for me , is quite ugly and difficult to light . You ' re hampered by the fact that when you put the ship in a particular lighting condition , it looks terrible . You then have to redesign and rechoreograph the shot to put it in its best light . " " ( " Cinefantastique " , Vol 22 , No . 2 , p . 33 ) All the footage of the original physical Borg cube model was shot at Image G . As of 2013 , the original Borg cube studio model , virtually unmodified and escaping the " " and " It ' s A Wrap ! " auctions , is still in the possession of CBS Consumer Products and has been on tour displays such as " Star Trek World Tour " , " " , and " Star Trek The Exhibition " as late as 2012 . Other physical studio models . For " Q Who " , an enlarged section of a side was built to show the self - regenerating capacities of the cube , and was in fact also constructed by Kim Bailey . Out of frame a high temperature heatgun , operated by Bailey and photographed by David Stipes , was applied to the partial model which made the wax elements melt and the styrene curl inward as it melted . The footage shot was subsequently inserted in reverse in the finalized footage in post - production . After shooting the model was nearly discarded but was saved by Dan Curry and is currently retained by him as part of his own personal collection . . Bailey constructed a special plexiglass case to protect the model and presented it to Curry . A smaller two - foot break - away model was built by Gary Hutzel and Dennis Hoerter for the finale of , essentially following the same building methodology as its bigger sister . Hutzel recounted , " " The Borg explosion in that shot was , of course , very important . It was a pivotal moment in the show . And it had to be really big . So , we had all set out realizing we needed a spectacular explosion . Dick Brownfield was our effects person on the show , at that time . And he ' d pulled out the stops , brought out everything . But as usual , we spent all the money on the pyrotechnics and there was no money left to build the ship . The ship had to be built . There was no money . I mean , I had to build the ship . So , the ship that was used for the pyrotechnics was only about two feet square , as I recall . So Dennis and I ended up sitting on a table and taking basically model - kit parts , stripping all the parts off , taking the little frames – the little plastic frames that they come on – and gluing them to the side of this box [ . . . ] and then spray - painting it , looking at it and sticking more stuff on , spray - painting it some more until , finally , it looked like the Borg ship . It was a spectacular explosion , and beautifully executed . We got it in the first take . " " ( TNG Season 4 DVD - special feature , " New Life and New Civilizations : The Best of Both Worlds " ) Annika ' s toy model . On one occasion a Borg cube appeared that did not represent a real in - universe vessel , but rather a model . It was the model Annika Hansen played with in " Voyager " s season 5 Borg - heavy episode . Berated by her father , Magnus Hansen , who admonished his daughter that it was not a toy , young Annika nevertheless used it as such . The model used in the episode actually was a commercially - available toy , the 1994 Borg cube from Playmates Toys , No . 6158 , which was ( loosely ) modeled after the television model and which as merchandise featured engines , tractor beam , laser cannon sounds , and a light - up interior . It was the one and only time a Borg cube was represented on - screen physically by a model not stemming from a production asset , but rather from a commercial product . " First Contact " Borg cube model . Originally , when it came to producing , an alternative notion was considered in the first draft script for " First Contact " , of Borg craft that were comprised of multiple cubes as well as the single sphere . ILM Associate Visual Effects Supervisor George Murphy recalled how the notion of a squadron of Borg ships able to amass into a single vessel was envisioned , " " It was like a Borg latticework that worked as one and moved as one . It would have made for a really nice visual – but it diminished the Borg villains to suggest they needed this many ships to beat Starfleet . " " ( " Cinefex " , No . 69 , p . 106 ) Eventually , the numerous Borg cubes became one ship of that form because , " " We [ . . . ] decided that a single cube was more in keeping with the way the Borg had been established before , " " as Writer Ronald D . Moore recalled . However , the producers deemed the original studio model too crude and not detailed enough to hold up to big screen requirements and had both John Eaves and , briefly , Ricardo F . Delgado submit design variations . Delgado ' s obelisk proposal , inspired by ancient Egyptian architecture , had openings through which the Borg sphere could be clearly viewed , as well as an opening at the top , which , according to Delgado , was purely decorative , although he envisioned the sphere being set in the top . ( ) Delgado himself noted , " " I felt the obelisk was a natural geometric progression away from the cube , while the obvious reference to Egyptology would also make the audience wonder if this was the Borg ' s first visit to Earth . " " ( " " ) However , his concept was eventually scrapped after it was discovered that the shape had an inherent lack of visual impact and excitement , particularly when shown from low angles . Design . Eaves , the designing process quickly gravitating towards him , started out with experimenting with a tetragonal shape . " " I did three or four passes in the rectangular shape . " " ( " " , p . 208 ) " " The first one I did was very , very smooth ; that was when it was still very large . It was this reflective block and it had all these inset passages you could fly through or other things could fly out of . They said , " OK , that ' s kind of cool . Let ' s carry that a little bit further , but not so smooth ; we need that Borg detail . ( . . . ) I knew that Goodson was going to work on the model - they were going to use brass etch , and there ' s really no way you can draw it - so what I did was just a guideline for the kind of shapes . I try to do that with all the drawings I do ; I leave a lot of the spaces open so the modeler can be part of the creative process . " " Adhering to the producer ' s wishes Eaves second pass suggested more paneling and large recessed areas , but , " " They liked the idea of the detailing on it ; it had ribbon - shaped canyons . They liked the feel of that , but they felt that the pattern was too mathematical . " " Eaves third pass therefore , was an effort to break up the regularity . " " That was also rectangular , but it ' s got a lot of really deep valleys and its got a little round escape sphere on the surface . That one they really liked ; they said ' Let ' s go with that . " ' " , Eaves continued . Upon consideration , however , the producers eventually decided to go along with the established cube design ( though the tetragonal shape was later revisited with the Borg probe ) and Eaves went on to rework the cube , " " " The first one was really overly detailed . That ' s where I started incorporating 45 - degree lines all throughout it . They liked that ; it was very intricate , but it was too busy , so they had me go with version two . That was the same breakup ; I started putting a heavier panel on top of it and incorporating the escape hatch . That was more the direction they were wanting , so Zimmerman had me do a color pass on it . That one has the hatch on the left - handed side ; for the very final pass they had me put the hatch on on the right side and they went back to a little finer detail . It was almost going back in a full circle back to the first sketch . It had a little bit of heavier panel but more of the fine - scale stuff . " " During this process the size of the cube was in flux ranging from 3 , 000 feet to 1 , 500 feet , the size eventually decided upon , which Eaves himself considered too small . He tried to remedy that by downsizing the detail on his design as to create a sense of scale . At first the circular escape hatch was an prominent feature on the cube , " " As the model went on , they decided to keep the door hidden , so it wouldn ' t be seen during the attack and wouldn ' t be revealed until the very last moment . On all the drawings you can see where the port is ; that established where on the cube that hatch is , but , in fact you never saw it except for that one where it opens , so really it could be anywhere . " " ( ) Physical studio models . Eaves ' final design , a more detailed and compact looking design , resulting in less transparency at the edges , was approved in March 1996 and sent over to the model shop at Industrial Light & Magic . Model makers John Goodson ( supervising ) , Barbara Affonso , Giovanni Donovan , and Jon Foreman constructed the thirty - inch model out of layers of photo - etched brass etch , suggested by Bill George with modeled styrene pieces placed sporadically throughout . The great intricacy of the brass etch gave the model a distinctly more detailed and varying look from the television model , though it was actually smaller . " " There were layers and layers of detail , five inches deep , which helped convey the complexity and scale of this ship , " " Alex Jaeger observed . ( " Cinefex " , issue 69 , p . 109 ) Apart from the brass etch , ample use was made of lowly paper - clips to further embellish the cube ' s surface with detail . ( " " , pp . 216 - 218 ) Internally lit by neon lighting , the light pattern was broken up by a patterned eighteen - inch green lightbox to suggest different compartments and light sources within the model . Also built into the model was a five - inch - long motion - controlled circular passageway for the Borg sphere ' s escape . In post - production , the sphere was composited into the footage of the cube since the Borg sphere model was actually almost as large as the cube model . Effects Supervisor John Knoll remarked on ILM ' s approach to showcase the model , " " The idea of having this big ship , three miles square , that was nothing but a junky - looking cube , was very different than what had previously been done on a " Star Trek " film . I wanted it to look bigger and badder , so wherever possible , we were looking up at it . We shot it fairly close with relatively wide lenses , and tried to make it break frame in many shots , as if it ' s too big too photograph completely . It ' s hard to do a shot of an office building where you see the whole thing . I also turned the cube 45 degrees so that one edge of it would come toward the camera like the prow of a ship . " " ( " American Cinematographer " , December 1996 , p . 69 ) Knoll ' s insistence on extreme close - ups of the model , was the main reason why the studio model had to be as detailed as possible . For the close - up battle damaged scenes , a sixty - inch side was specifically constructed to showcase battle damage , with especially designed model sections , that could be removed " and " replaced , with a burn then airbrushed around the " damaged " areas . John Goodson recollected , " " We had about six pieces on it . They were held in with tiny . . . [ . . . ] little machine screws , really tiny , like what you ' d use in your glasses , and these sections would unscrew and come off . And so you ' d have these gaping rips in the thing , and then we would take an airbrush with a little bit of gray paint and do kind of a blast mark on it , and you had instant damage . And to repair it , a can of black spray paint , blast the hole [ with the paint ] , do a little bit of touch - up with some color , screw the piece back in , and it was fully restored . It took minutes to change . " " ( - special feature , " Industrial Light & Magic – The Next Generation " ) For the destruction scene of the cube , no less than ten thirty - inch break - away model s were blown up , supervised by Geoff Heron to depict the scene , the scene being shot by Martin Rosenberg from underneath with the high - speed camera protected by a piece of plywood that covered the matte box . " " They blew up several black cubes packed with debris " " , stated Alex Jaeger , " " and we were able to match up those blast elements to our model photography . " " As part of the compositing , explosions on the Borg cube ' s hull were colored green , to match the ship ' s interior and exterior color motif . ( " Cinefex " , issue 69 , p . 109 ) Rosenberg added , " " At the end of each take , the matte box was maybe 4 " deep in plastic ! We knew when the shot was finished when we couldn ' t see anything ! " " ( " American Cinematographer " , December 1996 , p . 70 ) Used only once , though some footage taken for the movie was later used in s third season episode , the model , known as , part of the " 40 Years of Star Trek : The Collection " auction , estimated at US $ 1 , 000 - $ 1 , 500 , was eventually sold on 5 October 2006 with a winning bid of US $ 80 , 000 ( $ 96 , 000 including buyer ' s premium ) , in the process becoming the most undervalued object of the auction . CGI model . As approached Borg space in season 3 of the series , it was clear they would run into their ships sooner or later as they did in " Unity " . Since the visual effects of the series was already in the midst of the transition from traditional miniature photography to CGI , the decision was quickly made to make the Borg vessels CGI model s . The model was built at Foundation Imaging by Emile Edwin Smith , who based it on both the " Next Generation " and " First Contact " physical models , elaborating , " " Well , when I built the new cube for " Voyager " I based everything off image maps and then modeled around them . To make it real simple I had an underlying cube that was mapped with an image . I then took the main image that I had created into modeller and started building on it . Basically it was large areas of chunkiness raised above the inner cube with many of the detailed areas of the map modeled on these areas . I also interconnected the pieces with tubes and added edge pieces to make it look more dimensional and 3d on the edges . " " Making its debut in " Unity " , this model was used in every subsequent episode the cube made an appearance in , though some stock footage taken from the " First Contact " model was also used , as Smith has stated , " " In the episode Unity , I built the Borg ship , and we animated 90 % of all the visual effects , the other 10 % were stock model shots . Of course this varies with each episode , some we do no work on , but that is typical . . . " " Long after " Voyager " had wrapped , the CGI model made one more prominent , official live - action appearance in the 2004 " Borg Invasion 4D " - ride at the " " - attraction , seen attacking , and abducting people from " Copernicus Station " . Responsible for this was Smith ' s former Foundation supervisor , Adam " Mojo " Lebowitz , who was now employed at Threshold Digital Research Labs in a similar function , along with another former Foundation colleague Lee Stringer , and responsible for the visual effects in the movie for ride . As former Foundation Imaging Visual Effects Supervisor , Lebowitz had access to the digital database of previously used CGI live - action production starship models , and several of these were – mostly as scenic backdrops in the opening and closing scenes – featured in the film , the most noticeable ones being obviously those of the Borg cube and , the latter likewise prominently featured in the movie . The cube incidentally , fared little better than its " First Contact " or " Voyager " episode counterparts , being destroyed by " Voyager " at the end of the movie . Borg tactical cube model . In " Voyager " s season 6 two - part episode , an alternate design of the Borg cube appeared , what was designated as the " Borg tactical cube " ( or in the Borg ' s own terminology a " Class 4 tactical vessel " ) , not really a new design – or as its designer Doug Drexler exclaimed , " " It ' s a cube ! " " – but rather a very much upgraded design , endowed with novelties such as extensive hull armor that covered a large portion of the exterior hull of the ship , with the vessel ' s central plexus being protected by multi - regenerative security field s . Design . The Borg tactical cube was designed by Doug Drexler , at the time employed at Foundation Imaging , on the request of the producers who wanted some ideas pitched for a new Borg cube design . When approached to do the re - design , Drexler recalled , " " I ' m the only guy on the Voyager team at Foundation who is a sketcher . If Rick Sternbach is too busy , or the art department has left on hiatus , Rob Bonchune or Mojo will ask me to bash out ideas . This was the case when I worked in the DS9 art department as well . If John Eaves was busy I would pinch - hit . I enjoy designing , but I think that I wouldn ' t want to be the lead illustrator . It ' s a tough job . This way I get to dabble . When Rob told me that they wanted a new type of Borg cube I was kind of amused . After all , a cube is a cube , right ? " " ( ) It was indeed Foundation ' s VFX supervisor Bonchune , the producers turned to in making the request , who in turn reverted the request to Drexler , as the latter further clarified , " " It was during my tenure at Foundation Imaging as part of the " Voyager " VFX team . I remember Rob Bonchune came to me with an assignment . Our producers wanted some design ideas for a new Borg Cube . . . a battle - cube . " Rob ! It ' s a cube ! " I laughed . " That ' s like being asked to restyle a basketball ! " As much as we enjoy having a laugh at the expense of our masters , it does make you stop and think . I figured that I couldn ' t go too wrong , you know what I mean ? ( . . . ) " Doug , " said Rob . " You ' re the only guy here who wields a pencil , and the bosses are looking for a few sketches , so have at it ! " " " Still , the script did not give Drexler much help , as the new vessel was simply described in the script as a " battle cube " . " " I like to give the producers a bunch of sketched concepts to look at rather than work one idea into an illustrative masterpiece . It ' s a misdirection of energy . If the idea doesn ' t sell as a sketch , the concept probably isn ' t strong enough . " " , Drexler stated . ( ) Confronted with the simple " battle cube " description , Drexler toyed with several other configurations , having stated , " " Ya gotta love that ! I tried adding a lot of sharp pointy masts , spears , and antennas . As a joke I even drew one up that was a pyramid . You know , the UPN symbol . . . a square , a ball , and a triangle . So far , Borg ship design has been a cube and a ball . The pyramid would have completed the thing with tongue planted firmly in cheek . I knew the powers - that - be wanted a cube , but I couldn ' t resist . " " ( ) , at a later point in time adding , " " My one joke was the Borg pyramid . I mean think about it . First we had the Borg cube , then the sphere from " First Contact " , and now the pyramid ! It ' s the UPN logo ! " " Still , eventually returning to the classical cube - shape , Drexler incorporated in his design the notion that the Borg performed tactical updates after their recent beating by Species 8472 , or as he has put it at a later date , " " What do you do with a cube ? You can armor it . The Borg had just had their collective asses handed to them by Species 8472 , so I ' d design a flak jacket for a Borg cube . Personally I felt adding anything to the cube that gave it personality was a mistake . I happened to love the idea that the design said absolutely nothing about them , while at the same time , everything . " " Doug Drexler could not refrain from revisiting his Borg pyramid , when he , under the pseudonym Max Rem , built a CGI model of it for appearance in the 2004 pilot episode " Come What May " of James Cawley ' s fan made internet series " Star Trek : New Voyages " ; Drexler served as one of the series ' producers during its initial run . CGI model . The model was eventually built at Foundation Imaging by Koji Kuramura , who used the texture maps of the standard Borg cube as a basis , they themselves being mapped from the physical studio model used in " First Contact " . As Kuramura explains , " " I started with the base Borg cube model . And added the parts that Doug had on his drawings . I don ' t know if many people know this , but there was never more than 3 sides built for the Borg cube , because if you think about it . . . You could never see more than that on screen . The reason being was that it was a very Polygon heavy model . And back in those days of " Voyager " , memory was at a premium . " " At the time , Drexler was also posted at Foundation as VFX coordinator , so Kuramura was able to confer with him about details while he was building the model , as Drexler recalled , " " Koji sits right behind me . As he worked , he ' d call me over for a look - see and I ' d put in my two - cents ' worth . If he needed clarification or more detailed sketched I would kick a few out for him . ( . . . ) You ' ll notice that my sketches are done in rather broad strokes . They ' re all there in the model . It ' s crazy to try to spell out all the mega - nooks and hyper - crannies of a Borg contrivance . " " ( ) Conceived well into the CGI age , not a single physical production model was ever constructed for the Borg tactical cube .