Robert Bonchune Robert " Rob " Bonchune is a digital effects expert who worked on the " Star Trek " productions , , and while in the employ of consecutively , Foundation Imaging , and Eden FX , after the former went out of business in 2002 . He became the Senior CG supervisor for the last seven years of the franchise ' s television run , at first serving alongside and subsequently succeeding colleague Adam " Mojo " Lebowitz , after the latter opted not to follow his co - workers into the employ of Eden FX . No other CG Supervisor had the distinction ( or workload ) of serving for that period of time in that position in the franchise ' s history . Rob Bonchune was also part of the team that worked on the DVD . Bonchune shared Emmy Award s for his CGI work on the " Voyager " episodes and and the " Enterprise " pilot , with his team as the " CG Supervisor " . He also received an additional three Emmy nominations for his CG Supervision on , , and . The vessel was named after him , and its registry number ( NCC - 70915 ) is a play on his birth date . Bonchune created the CGI version of the ship for " Voyager " s episode . ( ) Bonchune ' s very first brush with the official " Star Trek " - franchise was rather an inconspicuous one , when he was tasked in 1994 as one of the most junior employees at WonderWorks Inc . to deliver the Kazon fighter studio model to the regular " Star Trek " motion control stage at Image G . There , he handed the model over to Dan Curry , the designer of the ship , who wanted to make improvements to it . Curry therefore asked Bonchune to stay behind to help him distress the painting . Bonchune was thrilled to help paint the ship but figured he would likely have no more involvement with Star Trek , though fate intervened to prove him wrong . ( " " , issue 44 , pp . 14 - 15 ) Two years later , Foundation in whose employment Bonchune now was , started its association with the " Star Trek " television franchise with " Voyager " , marking the start of Bonchune ' s nine year involvement with the live - action franchise as digital effects expert . Bonchune , an " " fan , was one of many production staffers who got increasingly frustrated with the chosen visual direction of the producers , while working on " Star Trek : Enterprise " , which started with the incident surrounding the design of " Vorok ' s battle cruiser " in the 2001 " Enterprise " episode . Eight years later , Bonchune ' s disappointment over that issue had not yet abated by 2009 , " " We all loved it over at Foundation and our friend Koji [ Kuramura ] built it for free . Amazingly , even though it was a freebee for the episode , certain people in production still found a way to nit pick certain things and refused to ultimately use it until windows were added in certain places . We refused , on principle , as Koji had not slept for days building that on his own and they knew it . . . so instead of using it , because of , I think 5 windows that you would never see , we ended up using the K ’ tinga , which was UTTERLY out of place and out of continuity in the " Enterprise " era . " " , having added , " " I am very saddened by that decision as a fan , because I knew it would ruin continuity , but considering the generous and passionate work Koji did overbuilding in quality a key Klingon ship for free , and then to not even give him a thank you and instead complain and ask for 5 more windows , we could not ask him or anyone to stay late again to change this , so we had to decline and let them go with there original plan . That decision speaks for itself . " " He did , for a number of years , continue to be one of the more outspoken critics – usually under his alias " nx01Rob " – in that respect on several blogs , such as TrekBBS . com and Hobbytalk . com , and as was evidenced by his comment on yet another , regarding the decision to remove the bird - of prey graphic from the Romulan Bird - of - Prey ( 22nd century ) in " Enterprise " s episode , " " Oh and as for the BOP drawing underneath , it was rejected for no other reason than , once again , contempt for the Trek , the fans and the Original Series by . . . uh . " management " . . . you know who they are . ; - ) " " Despite these incidents occurring , Bonchune loved working on the show and got along well with his co - workers and his effects supervisors at Paramount Television in the post - production department , stating , " " Mitch Suskin , Dan Curry and others where just a great group of truly caring , intelligent , reasonable and fun people to work with . The level of love for the product and the show was evident from every department really . Everyone did there best to make good " Star Trek " because most where fans as well . " " In 1999 , while he was still working on the television series , Bonchune , together with Foundation co - worker " Mojo " Lebowitz , conceived the concept of the successful " " calendar series , on which he served as co - editor and co - illustrator for the first three outings . With Lebowitz he also wrote and illustrated the " " reference book . Once done with the " Star Trek " series and after moving on to the other projects listed below , he has continued working on various " Star Trek " related projects . Bonchune ' s longstanding affiliation and love of starship design is what kept him taking any and all opportunity to work on these as long as it did not conflict with other work . Most notably were his renderings of the beauty and orthographic views of most of the " Star Trek " CGI ships for Paramount Publicity , in particular for the British publication " Star Trek Fact Files " and its American derivative . Then editor of the Magazine , Ben Robinson , recalled how he approached Bonchune for the publication , " " When we were first doing the Fact Files they were just introducing CG on the show and I realized it was an incredible resource for any publication . If you ' ve got a CG model you can look at something in real detail . We approached Foundation and Eden FX about getting people to render CG models out for us . Rob was one of the guys who really took that on and we became good friends , so when I started on this project he was one of the first people I thought of . There ’ s no substitute for a good render of a starship . It ' s as close as to the real thing as you could ever get . " " Robinson again contacted Bonchune several years layer to do the CGI renderings for the Haynes reference book , " USS Enterprise Owners ' Workshop Manual " . He continued doing illustrations and building ships for Robinson to this very day on consecutive projects , a number of them not marketed in the US . Most of Bonchune ' s Paramount Publicity renderings of the CGI models , built by Pierre Drolet ( who , incidentally , was hired by Bonchune in 1999 to work at Foundation Imaging ) , Brandon MacDougall , Koji Kuramura , as well as by Bonchune himself , could be found on the blog , often uncredited and mistaken for Doug Drexler ' s work due to the way Drexler labeled the images on his site . Bonchune , together with " Mojo " Lebowitz , would later join Ben Robinson ' s " " partwork magazine to supervise the rendering of CGI models and the creation of new ones , if pre - existing production - used CGI models were not available . These new CG models were used for the construction of starship miniatures included with the publication . Career outside " Star Trek " . Hailing from Montreal , Canada , Bonchune moved after graduating college to Los Angeles in order " to change his view " , according to his mini biography in " Starship Spotter " . He first worked as a physical studio model maker for television and movies ( even as late as 1995 when he contributed as such to " Apollo 13 " , albeit uncredited ) , before an opening presented itself on the 1993 science fiction television show at Amblin Imaging , where he taught himself the craft of CGI modeling , subsequently moving on , before Amblin ' s involvement with " Star Trek " , and , after his short - lived stint at WonderWorks Inc . as model maker , to Foundation Imaging . As digital artist at Foundation he worked on the science fiction series " Babylon 5 " , as well as on the 1997 movie " The Jackal " . After his tenure on the " Star Trek " franchise , he worked on the television series " Surface " , which won him a Visual Effects Society Awards nomination in 2006 ( shared with Eric Hance , John Teska and Sean Jackson ) , before quiting Eden FX and joining NBC to work on Ronald D . Moore ' s " Battlestar Galactica " and its follow - up " Caprica " . In 2011 , he joined Pixomondo Visual Effects , an international VFX house that currently employs many former " Star Trek " visual effects staffers . While there , he worked as the senior CGI animator on the television series " Hawaii Five - O " ( 2011 ) , Steven Spielberg ' s science fiction series " Terra Nova " ( 2011 ) , and " Perception " ( 2012 ) . " Star Trek " contributions . CGI work with : He was also responsible for many planets , props , anomalies and the majority of the astrometrics 3D graphics . His other contributions include many texture tweaks and painting on ships during filming . Emmy Awards . Bonchune received the following Emmy Award wins and nominations in the category Outstanding Special Visual Effects for a Series :