(written from a Production point of view)
Pierre Martin Drolet (born 1969, "[...] just a few months before Neil Armstrong became the first man to walk on the moon") is a French-Canadian digital artist and compositor, having been involved with the visual effects (VFX) created for Star Trek: Voyager, Star Trek: Enterprise, and Star Trek Nemesis. Drolet began his work on Star Trek at Foundation Imaging in 1999, and moved to Eden FX less than two years later, upon the closure of the former company. On his official site, Drolet recounted the events leading up to his position at Foundation, "After high school I went on to college and graduated in graphic communication at Laval University. As luck would have it in 1995 I got a job in the video game industry as a Lead 2D Artist. In 1999 there was a international contest that was sponsored by a US-based company which a friend told me about it. I did so without any expectations, and surprisingly, I won the contest based on three 3D images that I made for the competition. The winning prize was a job as a CGI modeler at Foundation Imagine in Los Angeles... and that made me very happy!"
Hired by Robert Bonchune (coincidentally a fellow French-Canadian), Drolet's very first independent assignment on Star Trek was the digital build of Friendship 1 for Voyager's last season episode "Friendship One".  Amongst his other Star Trek assignments, Drolet was responsible for the design of the Warp Five Complex spacedock, as seen in "Broken Bow" and subsequent episodes, as well as translating the majority of John Eaves's starship designs in CGI for the series. Nevertheless, his most signature contributions were his CGI build of the series' namesake hero vessel, Enterprise NX-01, designed by Doug Drexler,  and the CGI Romulan capital city Drolet built for Star Trek Nemesis. 
For his work on Star Trek, Drolet was nominated for a 2003 Emmy Award for his work in the episodes "Dead Stop" and "The Crossing" and again in 2004 for his work in the episode "The Council". Drolet was also nominated and awarded the 2003 Visual Effects Society Award (VES) for his work in the episode "Dead Stop" for "Best Models and Miniatures in a Televised Program, Music Video, or Commercial", with an additional nomination in another category in 2005 for "Storm Front, Part II". For Star Trek Nemesis, Drolet was largely responsible for digitizing and fine-tuning Syd Dutton's matte painting of the Romulan capital city.
Outside the live-action Star Trek productions, Drolet contributed to the Star Trek: Ships of the Line calendars series, some of which reproduced in its 2006 book derivative. Drolet was interviewed in the special features of the ENT Season 4 DVD where he discussed the rendering for the Xindi weapon.
Drolet contributed to Star Trek Into Darkness, in which he modeled an alternate reality Klingon Bird-of-Prey, which was rejected by the film's art department in favor of the final D4-class design. 
Outside the official Star Trek framework, Drolet volunteered to work as a digital artist on the fan-made internet series Star Trek: New Voyages episode "World Enough and Time" (2007), on which he worked alongside Michael Okuda, Dan Curry, and Daren Dochterman.
Other work Edit
Drolet remained in the employment of Eden FX until 2006, having worked on their productions such as the science fiction movies Serenity, the horror movie It Waits (both 2005), and the sci-fi television series Surface (2005), the pilot episode of the latter earning him an additional VFX Emmy Award nomination in 2006. In 2006 he joined many of his former Star Trek digital co-workers at Universal Studios to work on Ronald D. Moore's revamped Battlestar Galactica franchise and its spin-offs Razor and Caprica. An acclaimed production, the franchise garnered Drolet his first VFX Emmy Award win in 2008, with two more nominations the two consecutive years, all of whom he shared with many of his former Star Trek colleagues. 2008 was a good year for Drolet, as it also won him his second VES Award, for Razor, he shared with Gary Hutzel and Sean M. Jackson. Another Universal production, the television movie Virtuality (2009), resulted in Drolet's eighth Emmy Award nomination, though ironically he had not received official credit for that production.
In 2010, Drolet moved over to Pixomondo Visual Effects and became its lead digital modeler. Pixomondo, an international VFX house that currently employs many former Star Trek visual effects staffers, is where he rejoined his former Foundation supervisor, Robert Bonchune. While there, he worked on the television series Hawaii Five-O (2011), Steven Spielberg's science fiction series Terra Nova (2011), Perception (2012), and Da Vinci's Demons (2012). After his contribution to Star Trek Into Darkness, Drolet left the company. (Star Trek: The Official Starships Collection, special issue 4, p. 11)
Star Trek awards Edit
Emmy Awards Edit
Drolet received the following Emmy Award nominations in the category of Outstanding Special Visual Effects for a Series:
- 2003 for the episode "The Crossing", shared with Dan Curry, John Teska, Paul Hill, Armen Kevorkian, Ronald B. Moore, David R. Morton, and Sean Scott
- 2003 for the episode "Dead Stop", shared with Robert Bonchune, Arthur Codron, John Teska, Steve Fong, Koji Kuramura, Sean Scott, Greg Rainoff, and Mitch Suskin
- 2004 for the episode "The Council", shared with Arthur Codron, Dan Curry, John Teska, Steve Fong, Sean Jackson, Koji Kuramura, Greg Rainoff, and Mike Stetson
Visual Effects Society Awards Edit
Drolet received the following VES Award win and nomination:
- 2003 VES Award win in the category Best Models and Miniatures in a Televised Program for the episode "Dead Stop", shared with Koji Kuramura, John Teska, and Sean M. Scott
- 2005 VES Award nomination in the category Outstanding Created Environment in a Live Act on Broadcast Program for the episode "Storm Front, Part II", shared with Fred Pienkos, Eddie Robison, and Sean M. Scott
- Star Trek: Ships of the Line calendars – Co-illustrator