Doug Drexler Artist Douglas " Doug " Drexler has been creating for , or contributing to , numerous " Star Trek " productions and publications , both official and unofficial , since the 1970s . Starting out in fandom , Drexler has proven to be one of the most versatile production staffers in the " Star Trek " franchise . Beginnings as " Star Trek " fan . Born in New York City , Drexler was a first - generation fan - although he was prohibited from watching television on school nights , Drexler managed to watch , and subsequently to persuade his parents to allow him an hour ' s viewing a week , for " Star Trek " . Drexler , a School of Visual Arts , New York , BA degree graduate , along with Ron Barlow , ran a small " Star Trek " store in Manhattan , New York - " The Federation Trading Post " - during the mid - 1970s . Although failing initially , the store became more well - known after advertising during " Original Series " syndication , eventually becoming a focus for media contact about " Star Trek " . Drexler and Barlow were approached by Paradise Press to edit , and write for , one of the first professional " Star Trek " magazines not being an fanzine , the " Star Trek Giant Poster Book " . It was through the store that Drexler met and befriended frequent collaborator Geoffrey Mandel , with whom he compiled one of the first technical reference works in " Trek " history : the " USS Enterprise Officer ' s Manual " , as well as native - Californian Anthony Fredrickson ( having actually already befriended him in his high - school days ) , with whom he would author the " Star Fleet Medical Reference Manual " . It was during this period in time that Drexler and Mandel made up their mind that they would work for the " Star Trek " franchise one day , as Mandel recalled , " " Back in 1979 , Doug Drexler and I were probably the two biggest Star Trek fans in New York City . We knew that was being filmed , and we knew we had to be a part of it , so we took time off from work and school to fly to L . A . and do our best to sneak onto the sound stages of Paramount . Of course , we had no connections , barely a place to stay , and only by sheer chutzpah did we finally manage to get onto the lot , tiptoe upstairs to the Star Trek art department ( ironically , the same room I worked in for two years on ) , and talk to some of the designers , including Mike Minor and Lee Cole . What was probably a routine meeting for them with two Trek geeks was a decisive moment in my career , and Doug ’ s - we suddenly realized that there was actually a PAYING JOB for people like us , who liked to design spacecraft and draw little diagrams of ray guns . I can remember coming back home to New York and telling my mother that I finally knew what I wanted to do with my life , and she had a good laugh when I said it was to work in science fiction art departments . Who could possibly make a living at that ? ! " " The wide - eyed fan Drexler came in a sense full circle as he was yet to work on " The Motion Picture " , when he a quarter of a century later worked as a digital artist on the 2001 DVD version . Drexler also contributed as co - writer of two Gold Key TOS comics issues , " This Tree Bears Bitter Fruit " ( # 47 ) and " Murder Boards the Enterprise " ( # 48 ) . On issue # 47 , he is credited as a Story Consultant . Starting a professional career . Drexler began working as a makeup artist in on movies like " The Hunger " , and " Amityville 3 - D " , having been invited to do so by renowned makeup artist , . His other early work included " C . H . U . D . " , " Starman " ( both , 1984 ) , " Manhunter " ( 1986 ) , " My Demon Lover " and " Fatal Attraction " ( 1987 ) , " Poltergeist III " ( 1988 ) , as well as " 3 Men and a Little Lady " ( 1990 ) . After engaging in a long correspondence with Robert Justman and Michael Westmore during preproduction of the new spin - off television series , , only to be unable to get a position on the series due to union rules , Drexler moved to Hollywood in to work on " Dick Tracy " ( being made a member of the LA Union by ) , for which he later won a 1991 Academy Award ( shared with John Caglione , Jr . ) , a Bafta Award ( also shared with Caglione ) , supplemented by a Saturn Award ( again co - shared with Caglione ) to boot . " Dick Tracy " featured many " Star Trek " alumni in the cast : Colm Meaney , John Schuck , Ian Wolfe , Seymour Cassel , Hamilton Camp , Chuck Hicks , Mike Hagerty , Robert Costanzo , Ed McCready , Bert Remsen , Walker Edmiston and Michael J . Pollard . Though he afterwards ended up being hired on the " Star Trek " , he initially did concurrently work on the productions " True Identity " ( 1991 ) , " Shining Through " ( 1992 ) , and " Running Delilah " ( 1993 ) , while the series was in hiatus . Professional " Star Trek " affiliation . Now able to work in California , Drexler again approached Westmore to reapply for a position in the " Next Generation " make - up department . Westmore , incredulous at first that an Academy Award nominee would want to work as a lesser paid makeup artist for a television show – even though he himself had already won one – , hired him , but not before he had exclaimed , " " what do you want to do that for , you ' re doing features ! " " Later friend and co - worker , Michael Okuda , too , was impressed that an Academy Award winner decided to work on a television show , " " ( . . . ) It was I who was honored to meet this Academy Award - winning artist . He did me – and Star Trek – a huge favor when he said he was interested in working in the Art Department . I already knew of his talent , but I was impressed that he offered to take a huge pay cut to work with us . " " " The Next Generation " . Drexler ' s first assignment was putting on the Shakespeare makeup on Patrick Stewart for the " Next Generation " s third season episode . ( ; ) How eager Drexler was to work on " Star Trek " was exemplified by the fact that he was already working in the make - up department before " Dick Tracy " even received its three Oscars out of seven nominations . Actually winning one , was an unending source of glee for " Next Generation " actor LeVar Burton as Drexler recalled , " " The cast loved it . They went crazy . LeVar Burton used to tease me constantly . I would walk on set , he would yell , " " ladies and gentlemen , Academy Award winning makeup artist Doug Drexler . " " It didn ’ t matter where I was . One day I was walking down Ventura Boulevard in Studio City , and some guy comes racing around the corner and we collide . We looked at one another , and it ’ s LeVar ! I ’ m like , " " oh , no , " " because I knew it was coming . He turns to the entire crowded street and announces at the top of his lungs , " " ladies and gentlemen , Academy Award winning . . . " " . Funny as hell . " " Drexler continued to work as a make - up artist for three years , earning him two Emmy Award nominations as such , with the first appearance of Lal make - up for the third season episode becoming one of his more noticeable contributions . " Deep Space Nine " . Happy as Drexler was , working on " Star Trek " , he has professed that , " " ( . . . ) the art department was calling to me and that ' s really where I wanted to be . " " He struck up a friendship with Michael Okuda , whom he admired , and kept in touch with him and his Scenic Art Department , waiting for an opportunity to move over . That opportunity came when went into production and Okuda hired him , eventually becoming the lead scenic artist on the series . A grateful Drexler recalled , " " Looking through the trade paper , " Variety " , I saw that Paramount had made up their minds and they were going to do " Star Trek : Deep Space Nine " . I got on the phone right away to Mike Okuda , who really stuck out his neck for me , and that ' s how it happened ! " " ( ) Though hired as scenic artist , usually working alongside fellow Scenic Artist Denise Okuda – wife of Michael – , on an alternating episode basis , Drexler almost from the start doubled as production illustrator , designing props , albeit officially uncredited , " " Mike hired me to design graphics , but as soon as Herman found out I could sketch , he had me designing hand props . Mike had an idea about hand props that would snap into walls or consoles . " " At Okuda ' s department , Drexler learned a valuable practical lesson regarding designing , " " I learned early that you don ’ t send over just one or two designs , you send a dozen . As Mike taught me , " Be sure and send them something to hate " . " " Michael Okuda himself , very much aware of the fact that producers valued a multitude of options – the more , the better – , had explained the reason for doing so , " " Herman Zimmerman " [ note : head of the Art Department , to which Okuda ' s answered ] " used to remind us that there is always more than one way to solve any particular design challenge . It was his way of telling us not to get too fixated on any particular design element , because there are sooooo many factors that you can ’ t control . Even when you think you understand all the requirements for a design , you ’ re often surprised by a last - minute request from the director , or an unexpected budget problem , or a producer who wants a different approach , or a change in schedule , or any of a hundred things that fall into the category of what we called " oh , by the way . . . " . You ’ d think that this would be frustrating , and it times it was . But the odd thing is that it sometimes inspired us to stretch ourselves in different directions , and surprisingly , it sometimes even resulted in better work . " " While employed as artist at Okuda ' s Scenic Art Department , Drexler also contributed as such , besides " Deep Space Nine " , to three , , and . Most notable was his creation of his first , highly detailed MSD of the , prominently seen in " Generations " and on which he commented , " " I enjoyed laying cross sections out , and was proud that Mike thought I was the guy for the job . " " Future " Star Trek " productions would afford him ample opportunity to indulge this passion . " Voyager " . Officially , Drexler never worked for the studio on , when that series started production in 1994 . This was due to the studio ' s policy of contracting production staffers for one " Star Trek " production only , though it did not extend to the senior department staff , which in Drexler ' s case was Michael Okuda only . As " Deep Space Nine " scenic artist Drexler was therefore legally and formally forbidden to work on any of the other " Star Trek " television productions , a bit to his chagrin as he once stated that as far as he was concerned , " " There was no good reason for this that we could perceive . " " Still , the studio condoned his input in the earliest stages of the new series ' development by relaxing their own proviso when they , among others , requested Drexler to submit design propositions for the new " hero " ship , though the studio made sure Drexler was not credited for it . Actual " illegal " activities Drexler , the consummate " Star Trek " fan , performed for the new series were for example the application of the signage decals on the USS " Voyager " studio model ( " " , p . 325 ) , and the co - construction of the Mars Utopia Planitia Fleet Yards maquette for the second season season episode . A very noticeable contribution Drexler made as such , was the MSD he created together with Okuda . After the " Deep Space Nine " series wrapped , Drexler moved over as production illustrator and ( VFX ) artist to Foundation Imaging , for whom he yet continued working on " Voyager " , the only time during his " Star Trek " years he was not directly employed by Paramount . Yet , by this time he had already gradually and increasingly been called upon to make contributions as production illustrator – although he was never officially credited as such until – , even after not being formally employed by the franchise at the time . " " 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 [ Adam ] " Mojo " [ Lebowitz ] 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 " , " adding , a bit prematurely as it would turn out not too long thereafter , " " but I think that I wouldn ' t want to be the lead illustrator . It ' s a tough job . This way I get to dabble . " " , Drexler clarified . " Enterprise " . While still employed at Foundation , he was asked in 2000 to break the stalemate on the design of the new " hero " ship , , for the upcoming series . Starting to design a prototype CGI model under the erroneous impression that it would just be a quick mock - up , He found himself in a months long , unpaid , high pressure workload that took up most of his spare time , as he was at the time still fully employed at Foundation , working on the aforementioned DVD , among others . ( ) Drexler ' s dogged determination to bring the project to successful fruition , which was anything but " dabbling " , solicited an accolade of high praise from Michael Okuda , " " That ’ s dedication , but that ’ s what Doug brings to every project . And it earned him a place among such luminaries as Jefferies , Probert , Sternbach , Eaves , Taylor , Zimmerman , and James . " " However , Drexler , back in the employ of Paramount one year later , was rewarded for this stressful assignment by his subsequent position on the new series as . . . " Senior Illustrator " , finally earning him his " illustrator " credit . During these years , Drexler also contributed as illustrator to the last " Star Trek " film set in the prime universe , . As an " Original Series " fan , Drexler became concerned with the chosen visual direction the producers had decided upon for the new prequel series , but as former co - worker Mandel stated , " " Having been around then , I also know that Doug Drexler and John Eaves did " exactly " what the producers asked them to , " " despite the fact that Drexler , while proud of " ( . . . ) the NX - 01 , even though it was a frustrating experience , " considered himself " " ( . . . ) a " canon " kind of guy . I would have liked to have seen the Daedalus style ship . You know . . . the sphere instead of saucer . The producers wanted it to be a saucer because they wanted it " recognizable " . " " It hinted at elevated tension levels between producers and creative staffers on what a " proper " prequel visual style or starship design lineage should look like . Subsequent events however , proved that fans were in concordance with the creative staff . And while several by then former colleagues , Bonchune in particular , later vented their negative opinions on several internet blogs , Drexler , in accordance with his upbeat and diplomatic nature , kept these to himself . . . usually ; only once did he allow himself to slip up when he made the acerbic " You ' ll make a fine producer ! " riposte to one fan ' s overly criticism of his later refit - NX design , speaking volumes in that respect , the succinctness of the remark notwithstanding . Other official " Star Trek " work . When he started his tenure as scenic artist on " Deep Space Nine " , Drexler taught himself the software which , aside for submitting his early USS " Voyager " design propositions in this format , served him well in providing the graphics for the , and the subsequent " " . Drexler actually had to learn computer skills as one of his main responsibilities turned out to be creating the various okudagram s for " Deep Space Nine " in the format . Completely new to the computer phenomenon , he went about it with a fervor , admitting , " " Two weeks before Mike hired me , I ' d never touched one . On the day he gave me the word , I went out and bought my first . Spent the next two weeks cramming on Illustrator , and . " " Drexler went on to master the CGI software as well , the build of the Breen warship for being his first contribution in this format for the franchise . ( ) Actually , the fact that Drexler had been honing his skills building CGI models in LightWave while working on " Voyager " at Foundation Imaging , was instrumental in his invitation to participate in the design process for the for " Enterprise " . ( ) Being an " Original Series " fan , Drexler might otherwise have been a consideration for the producers not to employ him , as friend and co - worker Mandel reiterated , " " When they started " Enterprise " , they made a conscious decision to bring in some new blood , and not just round up the usual suspects ; but in practice , it meant that fans like Rick Sternbach , Tim Earls and myself weren ’ t asked back . However , a number of fans who had worked on DS9 and had been taking an extended leave of absence came back when Enterprise started , so the total number of " Star Trek " fans stayed about the same . " " Due to his intimate knowledge of " The Original Series " , Drexler has been deeply involved with the build of the " Original Series " sets for the homage episodes , , , and , and though he has not received a " production designer " credit for any of them , his contributions to the second episode in particular were examined in detail in the 2001 reference EBook , " " . " " In particular , Doug was the one responsible for going thru stacks and stacks of VHS tapes , doing video frame grabs for all of us who needed to know what the corridor door frames looked like , or where the intercoms were mounted , or how wide the stripes were on the floor , or a million other things . There is no way that this episode could have been as accurate as it was without Doug ’ s dedication and hard work . Without Doug ’ s efforts , a lot more things would have been guesswork , and the overall product would have been diminished , " " an appreciative Okuda stated in regard to the " Tribble " episode . While Drexler worked for the live action franchise , he co - authored and illustrated the " Manual " , and illustrated all editions of the " Encyclopedia " , its CD - ROM derivative as well as such reference books like " Star Trek Science Logs " , all of which in Adobe . His subsequent mastery of the LightWave software , aside for his regular work for televised " Star Trek " , also served him well , when he was asked by Pocket Books to provide ( CGI ) covers for several of their novels , most notably the covers of the " " novel s . ( ) , as well as becoming from 2004 onward , a contributor and co - editor of the popular " " calendar series , in the process managing to strike up a warm working relationship with then chief editor of Pocket Books , Margaret Clark – unlike several other colleague " Star Trek " authors . He also contributed as illustrator to the 1998 interactive CD - ROM , " " , for which he , most notably , created the " Constitution " - class operations graphic , that was later elevated to canon , when it was featured in the fourth season " Enterprise " " In a Mirror , Darkly " episode . Drexler also contributed to the 2004 film portion of the " Borg Invasion 4D " - ride at the " " - attraction , but for the longest of times he was not aware of it ; when he posted a by him constructed CGI model of a shuttle on his blog in 2009 , he , after first incorrectly believing it was a rejected build for the title sequence of " Enterprise " , only could remember that he , " " ( . . . ) was building the model in the art department when I got the word that Foundation had already begun their version , so it was never completed . " " This indicated that it was nevertheless built for the first season of the new series , as Foundation only worked on that season before the company went out of business . His blog participants almost immediately recognized the shuttle as having been featured in the the Borg ride , much to Drexler ' s glee , " " That ’ s the great thing about blogging with you guys ! It makes me remember ! Yes ! I do believe it was used as the Olympia . I think I turned this over to Threshold , along with a starbase model . Was there a starbase in the story ? " " And indeed there was , also immediately identified by blog participants as having been featured in the ride , when Drexler posted that model a short time later . As it turned out , Drexler was at the time requested to turn over his models to Threshold Digital Research Labs , the effects company which produced the VFX for the ride under the supervision of Drexler ' s former Foundation superior Adam Lebowitz . Unaware of this fact , but thinking nothing further of it , Drexler dutifully complied by handing over his , what he believed , " Enterprise " rejects . At Threshold the models were completed and featured as the " Olympia " shuttle and as the Starfleet science research facility " Copernicus Station " , respectively . By posting the two models , it had even helped the designer of both , John Eaves , to have his memory jogged , " " I just found the art work for this one ! ! ! I forgot What we were doing this for but so loved the modeling you did on it and that crazy tikki faced space station ! ! ! Your the KING ! ! ! " " This was not an unusual thing , as Eaves had clarified on another occasion , " " Between Doug and I we have far more rejected pieces than approved . . . and you were always worried when all the ideas went to a meeting that they would choose the one you didn ’ t want to get approved . " " Doug Drexler acted as a technical consultant for the 2006 remastered " Original Series " , for which he was fully credited , and repeated this for the 2012 follow - up project , the remastered " The Next Generation " series , albeit uncredited , and on a more freelance , occasional base . In addition , he has served as technical consultant and illustrator for the model kit companies Bandai and Polar Lights for their respective ( refit ) NX - class model kit outings in 2003 and 2014 . In 2012 , Drexler joined on a freelance basis the editorial staff of Ben Robinson ' s " " partwork publication as CGI supervisor , consultant and contributor , especially on those issues that sported his own starship designs . In 2013 , Drexler and Andrew Probert designed the new Deep Space 9 station for the cover of the " " novel " Revelation and Dust " . In November 2014 Drexler again returned to the " Star Trek " franchise when he was invited to become a part as consultant of a team of experts – including a host of former " Star Trek " alumni – to oversee a new restoration of the original eleven - foot " Enterprise " studio model , residing at the Smithsonian ' s ( NASM ) , for its 50th anniversary . Though having accepted the prestigious assignment , Drexler was unable to attend the team ' s first work meeting on 13 May 2015 , due to previous engagements . Appearances . Doug Drexler has made two cameo appearances as a Starfleet officer . Upon starting work on " Star Trek " , he asked if he could appear as a background artist , in uniform , at some point . His wish was granted in the third season episode , where he appeared as a command division " Enterprise " - D officer in several scenes set in Ten Forward . He also appeared in as an Earth Starfleet ceremony attendee . Perhaps not coincidentally , his name has been used referring to two Starfleet personnel , D . Drexler and , on dedication plaque s in the same time periods . In addition , Drexler had a Klingon character named after him – Drex , the son of Martok and Sirella , appearing in – , and which titillated him to no end , " " I got a Klingon named after me ! There was a Klingon named Drex . Michael Dorn always loved my last name for a Klingon ; on TNG he would yell across the stage , " Drexler , Drexler , Drexler . " He ' d say , " It ' s a great Klingon Name " And I think I told Ira that . Also I had Drex on my jacket . Ira always used to see that . " " ( ) . Coda . When asked in 2013 if his fifteen - year tenure on live - action " Star Strek " had in any way diminished his enjoyment of the franchise as fan , Doug Drexler emphatically exclaimed , " " Working behind the scenes for so many years only revved me up ! " " He concurrently added that " The Original Series " was and remained his favorite " Star Trek " incarnation , elaborating , " " None can equal the original , simply because it was the first . . . that show birthed everything that came after it . It certainly changed the course of my life , and colored everything that I would do from then on . TNG is right up there next to TOS . It ' s a thoroughbred , that is true to it ' s roots . It ' s " Star Trek " grown up . It ' s philosophical , and thoughtful . That ' s what makes real " Star Trek " . " Star Trek " is always about an idea . If it isn ' t asking questions , it ' s just an action movie . " " It was however , also in this light that he on the same occasion expressed his doubts on the re - imagined , alternate reality franchise , which started with the 2009 movie , " " Technically they are beautiful . . . the work is stunning . . . however . . . and I hope no one will hold this against me . . . I did not enjoy the last two films , and honest . . . I really wanted to . . . but for me , " Star Trek " has to have a philosophical , humanist bend to it . . . always making a point , or asking a question . It should be introspective , and self examining . That ' s the Roddenberry factor . The new films are devoid of Gene Roddenberry , and at the end of the day , I ' m not ok with that . " " Still , despite continuing being a fan , it has not prevented Drexler , after meeting Alec Peters , to let go of most of his collection of " Star Trek " production items he had accumulated over the years , in Propworx ' first two 2010 - 2011 specialized " Star Trek " auctions , as he started to run out of storage space . Nevertheless , most of these he had already previously shared with fellow fans on his blog . ( " see below " ) Continuations as " Star Trek " fan . Outside the official franchise framework , Drexler , " The Original Series " fan he is , but now credited under the pseudonym " Max Rem " , also volunteered to work on James Cawley ' s fan made internet series " Star Trek : New Voyages " ( 2004 - 2007 ) . He worked as a VFX artist , executive producer , make - up artist , casting director , and editor on the series and wrote the story for the episode " In Harms Way " . As CGI VFX artist , Drexler built several CGI model versions of ships for this production , such as the Class F shuttlecraft , the Klingon D7 class , the DY - 100 class and most notably , with support from Petri Blomqvist , the " Constitution " - class . Most of these CGI builds for this fan production , later turned up on several occasions , usually credited under his " Max Rem " pseudonym , in the licensed " Ships of the Line " calendar series , and their 2006 book derivative . From 2013 onward , Drexler , now under his own name , continued to extend his support as producer and VFX artist to the more recent , likewise conceived fan project , " Star Trek Continues " . In the first full episode of the series , " Pilgrim of Eternity " , Drexler also starred in a guest role as a holodeck character in the episode ' s teaser . The Drex Files . To disseminate all the knowledge he had accumulated over the years to fellow " Star Trek " fans , Drexler started his internet blog , the on 14 December 2008 . For four years running , a large amount of behind - the - scenes information was posted on this blog ( including most of his aforementioned collection of " Star Trek " production items ) , providing an intimate look into all production aspects of " Star Trek " productions set in the prime universe , with most of its contents not available anywhere else . Over the four following years , Drexler ' s blog has amassed a large following ; not only fans participated in his blog but former VFX production staff colleagues , such as Brandon MacDougall , Robert Bonchune , Adam Buckner , Dana White Shea , and many more , contributed to his blog too . The more prominent production staff contributors to Drexlers ' blog were Rick Sternbach , Michael Okuda and Andrew Probert , who provided a considerable amount of additional information . Activity on the blog had considerably slackened off from 2012 onward though . Noteworthy was that Drexler on his blog provided a platform for young and aspiring " amateur " digital modelers to showcase their work . Along with former Foundation colleague Adam " Mojo " Lebowitz , Drexler became one of the few publication editors who granted these budding artists a chance to create work for official " Star Trek " print publications , most notably of course , the by Drexler himself edited " Ship of the Line " calendar series . Two of them in particular , Tobias Richter and Douglas E . Graves , were thanks to Drexler given the opportunity to contribute to the remastered version of " The Next Generation " , which marked their professional entry in the motion picture industry . The blog was taken down in early March 2013 , due to perceived copyright infringements put forward by former VFX colleagues . Drexler stated the following on , " " You know how I brand all the images I post with Drex Files . Several of my VFX colleagues took exception to that . They felt I was claiming credit for it all by doing that . I received a couple of angry notes that were upsetting . I felt the best thing was to off - line it for now . My intention was never to steal credit , in fact I felt like I was promoting everyone ’ s work . Drex Files regulars know that I note credits for work whenever I have the info , and if I don ’ t , I appeal to the audience to speak up if they know something about it . So for now , the Drex Files is dark , at least until I have a chance to think about it and review it . " " One of the very last pictures Drexler posted on his blog before it went dark , was one in which he was seen sitting on the throne of Kahless that was constructed for the season six " Next Generation " episode . In it he emulated the signature pensive and moody pose , actor Arnold Schwarzenegger had assumed in his titular role at the end of the 1982 cult classic , " Conan the Barbarian " . Unwittingly and in hindsight , it was Drexler himself who had provided an apt coda for his blog ; as of 2015 Drexler has opted not to revive his blog , but instead to use his Facebook page as the venue to continue disseminating his knowledge , with much of his undisputed blog contents ported over to that venue . The " DrexFiles " proved to be an inspiration for the companion site of John Eaves , who started his likewise successful blog , , on 16 March 2009 . He stated on that occasion , " " I have to thank the ever and all talented master of media and VFX illusionist , Doug Drexler , for encouraging me to get off my fat butt and finally start a fun blog page ! ! ! I have always wanted to have place to share the fun and adventures of those glorious movie and Star Trek days with friends , coworkers and fans of the films and shows . . . " " Post - " Star Trek " career . While employed at Foundation Imaging , Drexler was at first put to work on " Roughnecks : The Starship Troopers Chronicles " , before being allowed to work on " Voyager " . Following his official tenure on the " Star Trek " franchise , Drexler subsequently worked as CGI VFX supervisor on Ronald D . Moore ' s successful " Battlestar Galactica " franchise , its short lived prequel series , " Caprica " , and the more recent " Battlestar Galactica : Blood & Chrome " ( 2012 ) direct - to - DVD movie . His tenure on that franchise earned him no less than two " Outstanding Special Visual Effects " Emmy Award s , three additional nominations , as well as a 2009 VES Award ( shared with close friend Gary Hutzel and Kyle Toucher ) . In between Drexler worked on productions like , " Future by Design " ( 2006 ) , " Area 57 " ( 2007 ) , " Zeitgeist : Addendum " ( 2008 ) , " Virtuality " ( 2009 ) , and " Drive Angry " ( 2011 ) . One of Drexlers ' more involved engagements was his participation in the 2013 television show " Adventures of Superseven " , on which he not only contributed as CGI automobile modeler , but also appeared on two occasions as a recurrent guest star . Drexler ' s most recent employment was as a CGI supervisor for Syfy ' s 2013 science fiction television series " Defiance " , resulting in the addition of yet another 2013 VFX Emmy Award nomination ( shared with Hutzel , David R . Morton , Toucher , Sean M . Jackson , and Douglas E . Graves ) to his laurels . Ever since " Enterprise " , or rather " Voyager " , Drexler has remained a VFX artist , and at first glance this was seemingly in contradiction with his " get all you can " life adage , quoted at the top of this entry . Yet , he has philosophically put this apparent contradiction in perspective , " " [ W ] ith CG , which is so all encompassing , it is really , really hard to get bored . You get to be the designer , set the lights , the camera , create the mood . . . you do it all . Interestingly enough , though , I still get to do makeup , in the computer that is . Funny how that works . " " Drexler is married to " Enterprise " food stylist Dorothy Duder . Emmy Award nominations . For his work on " Star Trek " , Drexler has received the following Emmy Award nominations as " Makeup Artist " in the category Outstanding Achievement in Makeup for a Series :