All language subtitles for How.Its.Made.S30E09.Fish.Rubbings.Clay.Shooting.1080p.AMZN.WEB-DL.DDP2.0.H.264-SLAG_track4_[eng]

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Narrator:
TODAY ON "HOW IT'S MADE"...

FISH RUBBINGS.

CLAY SHOOTING MACHINES.

ALMONDS.

AND HIGH-END MOTORCYCLES.

FISHERMEN LIKE TO EXAGGERATE
ABOUT THE SIZE OF THEIR CATCHES.

IN 19th CENTURY JAPAN,

FISH RUBBINGS WERE USED
FOR ACTUAL DOCUMENTATION.

FISHERMEN COATED THE FISH
WITH NON-TOXIC INK

AND RUBBED IT ON PAPER
TO TRANSFER THE IMAGE.

THEY CALLED THIS FORM
OF RECORD-KEEPING GYOTAKU.

OVER TIME, THE PRACTICE
OF FISH RUBBINGS

HAS EVOLVED INTO AN ART FORM.

WHY PAINT A PICTURE WHEN YOU CAN
PRINT ONE USING THE REAL THING?

THE ARTIST TRACES THE OUTLINE
OF THE FISH ONTO A FOAM BLOCK.

FOLLOWING THAT OUTLINE, HE CUTS
OUT A FISH-SHAPED CAVITY.

HE SETS THE FISH IN THE CAVITY.

THE FOAM WILL KEEP
THE FISH LEVEL

AND STABLE DURING PRINTING.

HE TUCKS PAPER WADDING
INTO THE MOUTH

TO KEEP IT OPEN FOR
A MORE INTERESTING PRINT.

HE ALSO INSERTS WADDING
UNDER THE GILL FLAPS

TO IMPEDE THE FLOW
OF FLUIDS FROM THE FISH.

HE PROPS UP THE FINS WITH PINS

AND LEAVES THEM TO DRY OVERNIGHT
IN THIS ELEVATED POSITION.

THIS WILL GIVE THE RUBBED IMAGE
THE ILLUSION OF ACTION.

HE WRAPS COSMETIC SPONGES
AROUND WINE CORKS

AND TAPES THEM AT THE BASE.

THESE IMPROVISED INK APPLICATORS

WILL EVENTUALLY PROVIDE A SMOOTH
FINISH WITH NO BRUSH STROKES.

HE MAKES ONE FOR EACH COLOR,
PLUS A FEW EXTRA FOR BLENDING.

NEXT, HE SELECTS
DIFFERENT INK COLORS

TO CREATE A BLUISH GREEN SHADE

THAT'S CLOSE TO THE ONE
ON THE BLUEGILL.

HE ADDS POPPYSEED OIL
TO THIN THE INKS A BIT

AND BLENDS IT ALL
WITH A PALETTE KNIFE.

WITH THE FINS NOW DRY AND STIFF,
HE REMOVES THE PINS.

WITH A METAL PROBE,
HE PULLS UP A FIN

THAT HADN'T BEEN RAISED EARLIER.

HE PLACES A PAPER TOWEL
BETWEEN THE FOAM SUPPORT BLOCK

AND THE FISH.

HE PATS A GREENISH
BLACK COLOR ONTO THE GILLS

AND TAIL USING A FOAM BRUSH.

THIS PROCESS LEAVES SOME SMEARS
ON THE PAPER TOWEL,

BUT THAT'S WHAT IT'S THERE FOR.

SWITCHING TO ONE OF
THE IMPROVISED APPLICATORS,

HE APPLIES THE BLUISH GREEN INK

TO THE UPPER PART
OF THE FISH'S BODY.

HE DABS A YELLOW COLOR
ONTO THE BELLY OF THE FISH.

HE ADDS A BIT OF RED
TO THE CHEST

BECAUSE DURING SPAWNING,

IT USUALLY TURNS THIS COLOR.

HE PLACES A PIECE OF PAPER
UNDER A FIN

AS HE COATS IT WITH GREEN INK.

THEN HE REMOVES THE PAPER TOWEL

THAT HAS PROTECTED THE FOAM
SUPPORT BLOCK FROM SMUDGES

AND PLACES THE FISH
BACK IN THE CAVITY.

HE LIGHTLY SPRAYS A SHEET
OF RICE PAPER WITH WATER.

THIS MAKES IT EASIER
TO MANIPULATE,

AS HE DRAPES THE DAMP PAPER
ONTO THE INKED FISH.

HE RUBS THE PAPER ONTO THE INKED
FISH TO TRANSFER THE IMAGE.

THIS TAKES SKILL
AND THE RIGHT TOUCH.

ONCE HE'S FINISHED,

THE ARTIST PEELS
THE PAPER AWAY FROM THE FISH

AND EXAMINES THE RUBBING.

AFTER THE INK HAS DRIED,

HE LIGHTLY SPRAYS
THE RUBBING WITH WATER

AND THEN A WATER-BASED DYE.

THE DYE PROVIDES
BACKGROUND COLOR

BUT DOESN'T AFFECT
THE OIL-BASED INK GUARD.

HE BRUSHES WHEAT PASTE ONTO
A SECOND PIECE OF RICE PAPER.

THIS PAPER WILL SERVE AS
AN EXTRA LAYER OF REINFORCEMENT

FOR THE FISH RUBBING.

HE WETS THE RUBBING THOROUGHLY.

AN ASSISTANT SLOWLY LOWERS
THE WET PRINT ONTO THE PAPER

AS THE ARTIST
SMOOTHES THE RUBBING,

ENSURING THERE ARE
NO WRINKLES AS IT ADHERES.

THE IMAGE OF THE FISH'S EYE
DOESN'T TRANSFER DURING RUBBING,

SO HE PAINTS ONE.

HE DEFINES THE PUPIL
WITH BLACK WATERCOLOR

AND PAINTS THE IRIS YELLOW.

THE PAINTED EYE ADDS A SOULFUL
EXPRESSION TO THE PRINT.

THE FISH RUBBING IS
NOW READY TO BE MOUNTED

TO A MORE RIGID PAPER BACKING
FOR EXTRA SUPPORT.

HE TRIMS THE BORDERS, ENSURING
THAT THEY'RE SYMMETRICAL

AND THE CORRECT MEASUREMENTS.

HE THEN TAPES THE FISH RUBBING
TO THE MOUNTING BOARD

AND SIGNS IT.

WITH NUMEROUS AND EXTENSIVE
DRYINGS BETWEEN STEPS,

IT HAS TAKEN SEVERAL WEEKS
TO PRODUCE THIS FISH RUBBING.

Narrator: CLAY SHOOTING MACHINES
LAUNCH THE FLYING TARGETS

USED IN THE SPORT OF
CLAY PIGEON SHOOTING.

THE SAUCER-SHAPED TARGETS
ARE CALLED CLAY PIGEONS

BECAUSE THEY REPLACE THE
ORIGINAL TARGETS, LIVE PIGEONS.

SHOOTING MACHINES
CAN LAUNCH THE TARGETS

AT VARIOUS INTERVALS,
ANGLES AND VELOCITIES.

THIS COMPANY HAS BEEN BUILDING

CLAY SHOOTING MACHINES
SINCE 1927.

OLDER MODELS LIKE THIS
ONE WERE HEAVY STEEL CLUNKERS

THAT RAN ON HIGH VOLTAGE,

WERE DIFFICULT TO MOVE AROUND
AND WEREN'T TERRIBLY PRECISE.

TODAY'S MACHINES WEIGH
FROM JUST 88 TO 220 POUNDS.

NOT ONLY ARE
THEY EASILY PORTABLE,

THEY RUN ON JUST 12 VOLTS

AND PERFORM
WITH GREAT PRECISION.

THE MACHINE'S STURDY BASE
IS CONSTRUCTED FROM THICK STEEL.

ITS PARTS WERE CUT
BY A COMPUTER-GUIDED LASER

THEN WELDED TOGETHER.

THE BASE DESIGN
ENABLES THE MACHINE

TO MOVE BOTH LATERALLY
AND VERTICALLY.

THE FIRST COMPONENT THE
WORKER ATTACHES TO THE BASE

IS THE FRAME.

MADE OF DURABLE EPOXY-COATED
CAST ALUMINUM,

IT SUPPORTS ALL
THE MACHINE'S KEY COMPONENTS.

ONE OF THEM, THE MAIN SHAFT
ASSEMBLY FOR THE THROWING ARM,

IS ALREADY INSTALLED.

A TECHNICIAN CONNECTS
THE FRAME TO THE BASE

WITH HEAVY-DUTY BOLTS.

THIS SLOT IN THE FRAME ALLOWS
THE MACHINE TO TILT VERTICALLY,

UP TO 65 DEGREES.

HE ATTACHES A STEEL EXTENSION
FOR THE THROWING PLATE

ACROSS WHICH THE THROWING ARM
MOVES THE CLAY PIGEON.

THIS EXTENSION
ENABLES AN OPTIMAL

POSITIONING
OF THE THROWING PLATE.

BEFORE INSTALLING
THE THROWING PLATE,

HE INSTALLS THE INDEXING
SHAFT ASSEMBLY.

THE INDEXING SHAFT IS THE FINGER

THAT MOVES THE CAROUSEL FORWARD

ONE COLUMN AT A TIME.

HE MOUNTS THE STEEL
THROWING PLATE.

IT HAS THREE STEEL SPRINGS
ON ITS UNDERSIDE.

ONE GOES OVER THE BOLT,

ATTACHING IT TO THE FAR END
OF THE EXTENSION.

THE OTHER TWO GO OVER THE BOLT,
ATTACHING IT TO THE FRAME.

THESE SPRINGS KEEP THE ARM
PARALLEL TO THE THROWING PLATE.

NEXT, HE SCREWS THE THROWING ARM
TO THE MAIN SHAFT ASSEMBLY.

HE CHECKS THE GAP
BETWEEN THE ARM AND PLATE

TO MAKE SURE THE ARM MAKES
CONTACT WITH THE CLAY PIGEON

AT JUST THE RIGHT LEVEL.

IF THE ALIGNMENT'S OFF, HE
ADJUSTS THE HEIGHT OF THE PLATE.

THEN HE MANUALLY TURNS
THE MAIN SHAFT

TO MAKE SURE THE THROWING ARM
ROTATES SMOOTHLY.

THE MACHINE RUNS ON
A POWERFUL ELECTRIC MOTOR

THAT HAS AN INTEGRATED
GEAR TRAIN.

THE TECHNICIAN INSTALLS
THE MOTOR ON THE FRAME

BENEATH THE MAIN SHAFT ASSEMBLY.

NEXT, HE ATTACHES
THE STEEL ARMING SPRING

WHICH CAN WITHSTAND UP
TO 440 POUNDS OF PULL FORCE.

ITS SUDDEN RELEASE
GENERATES THE PROPULSION

TO LAUNCH THE CLAY PIGEON

OF A FLYING SPEED OF MORE
THAN 62 MILES PER HOUR.

HE MOUNTS THE SUPPORT BASE
FOR THE CAROUSEL

THAT HOLDS THE CLAY PIGEONS,

THEN HE SCREWS THE ARMING SPRING
TO THE MAIN SHAFT ASSEMBLY.

AS THE SHAFT SWINGS
BACK AND FORTH,

IT STRETCHES AND
RELEASES THE SPRING.

HE LINKS
THE INDEXING SHAFT ASSEMBLY

TO THE MOTOR'S GEAR SHAFT.

HE INSTALLS THE CAROUSEL,
MADE OF CAST ALUMINUM,

ON THE SUPPORT BASE.

THIS MODEL HAS A DIFFERENT
TYPE OF MOTOR DESIGN

THAT ENABLES THE BASE
TO PIVOT AUTOMATICALLY,

LAUNCHING RANDOM TRAJECTORIES.

THIS PATENTED SYSTEM INCREASES
THE CAROUSEL'S CAPACITY.

BY CLICKING RETRACTABLE
EXTENSIONS

ONTO THE RODS
THAT SEPARATE THE COLUMNS,

THE OPERATOR
CAN STACK 50 PERCENT

MORE CLAY PIGEONS
IN THE CAROUSEL.

WHEN THE OPERATOR PRESSES
A BUTTON ON THE REMOTE CONTROL,

THE THROWING ARM
ROTATION BEGINS.

WHEN THE ARM PASSES
A SPECIFIC POINT,

THE STRETCHED ARMING SPRING
RELEASES, LAUNCHING THE PIGEON.

AS THE ARM CONTINUES
ITS ROTATION,

THE LINKED INDEXING SHAFT
MOVES THE CAROUSEL FORWARD,

DROPPING A NEW CLAY PIGEON
ONTO THE THROWING PLATE.

WHEN THE ARM COMES FULL CIRCLE,
RE-STRETCHING THE ARMING SPRING,

A SENSOR CUTS POWER TO THE MOTOR

UNTIL THE NEXT PRESS
OF THE BUTTON.

THIS ENTIRE CYCLE
TAKES JUST 2 SECONDS.

Narrator: ALMOND CONSUMPTION
DATES BACK TO BIBLICAL TIMES.

THEY'RE EVEN MENTIONED
IN THE OLD TESTAMENT.

AROUND 100 A.D.,

THE ANCIENT ROMANS SHOWERED
NEWLYWEDS WITH ALMONDS.

THIS RITUAL CAME FROM THE BELIEF
THAT THEY INCREASED FERTILITY.

BUT TODAY, IT'S THE NUTRITIONAL
VALUE OF ALMONDS

THAT KEEPS US
COMING BACK FOR MORE.

ALMONDS ARE A GUILT-FREE SNACK.

THEY'RE FULL OF VITAMINS,
MINERALS AND PROTEIN.

MORE THAN 80 PERCENT
OF THE WORLD'S

ALMONDS COME FROM CALIFORNIA

WHERE GROWING CONDITIONS
ARE IDEAL.

UPON ARRIVAL AT
A PROCESSING FACILITY,

THE ALMONDS ARE STILL
ENCASED IN LEATHERY HULLS.

THEY FLOW THROUGH EQUIPMENT
THAT COMBS OUT DEBRIS.

THE NEXT MACHINE, CALLED
A DESTONER, TARGETS ANY ROCKS.

AIR BLOWS THROUGH IT
TO SEPARATE THE LIGHTER

ALMONDS FROM THE STONES.

THE ALMONDS TRAVEL BETWEEN
A RUBBER ROLLER AND BELT.

THIS SPINS OFF THE HULLS
AND RELEASES THE ALMONDS.

THE OPERATOR PERIODICALLY
EXAMINES THE DE-HULLED ALMONDS.

VIBRATING DECKS WITH SLOTS
SORT THE ALMONDS BY SIZE.

THE SYSTEM ALSO SHAKES OFF
HULL MATERIAL AND VACUUMS IT UP.

THE ALMONDS HEAD TO A GRAVITY
TABLE FOR FINER SEPARATION.

THE SPENT HULLS AND OTHER
MATERIAL FLOAT TO ONE SIDE

WHILE HEAVIER CONTAMINANTS
FLOAT TO THE OTHER.

THE IN-SHELL ALMONDS
TUMBLE DOWN CHANNELS.

CAMERAS EXAMINE THE SHELLS
FOR IMPERFECTIONS

AND LOOK FOR CONTAMINANTS,

THEN A BLAST OF COMPRESSED AIR
KNOCKS THEM OUT OF THE FLOW.

THESE ARE SOME
OF THE CONTAMINANTS

THAT HAVE BEEN REMOVED.

AT ANOTHER FACILITY, MACHINERY
WILL NOW GRADE THE ALMONDS

ACCORDING TO THE CONDITION
OF THEIR SHELLS.

ONCE AGAIN, THE ALMONDS
FALL THROUGH THE OPEN AIR,

AND A COMPUTERIZED CAMERA
SCANS THEM FOR BROKEN SHELLS

AND OTHER FLAWS.

A COMPRESSED AIR GUN
THEN KNOCKS THE FLAWED ALMONDS

OUT OF THE MIX.

THE ALMONDS BOUNCE
ALONG A VIBRATING GRID

AND ANY KERNELS OR MISSED
SHELL FRAGMENTS FALL THROUGH.

FINALLY, PEOPLE SORT
THROUGH THE ALMONDS

AND REJECT ANY THAT
DON'T HAVE PERFECT SHELLS.

THEY ALSO TOSS OUT
ANY CONTAMINANTS

THE MECHANIZED
SORTING SYSTEM MISSED.

SOME BUYERS WILL PAY
A PREMIUM FOR THE BEST NUTS.

THE ALMONDS WITH BROKEN SHELLS
WILL HAVE THE SHELLS REMOVED.

THESE RAW ALMONDS
ARE ALSO SORTED BY SIZE.

THEY FLOW ONTO
A VIBRATING CONVEYOR.

FURTHER ALONG,
THE CONVEYOR HAS HOLES.

THE SMALLER ALMONDS FALL THROUGH
THESE HOLES AND INTO BINS.

THE LARGER ALMONDS
CONTINUE FORWARD.

THESE LARGER KERNELS
ARE WORTH MORE

AND WILL BE SOLD SEPARATELY
FROM THE SMALLER ONES.

AS WITH THE IN-SHELL ALMONDS,
GOOD LOOKS ARE IMPORTANT.

A CAMERA PHOTOGRAPHS
THE CASCADING ALMOND KERNELS,

AND A COMPUTER SCANS THE IMAGES.

THE SYSTEM KNOCKS
THE LESS-THAN-PERFECT ALMONDS

OUT OF THE PRODUCTION STREAM.

NEXT, THE ALMONDS
HEAD TOWARDS A ROBOT.

ALONG THE WAY, ANOTHER CAMERA
SENDS THE IMAGES

TO A COMPUTER SCANNER.

THIS ONE HAS BEEN
PROGRAMMED TO FIND CHIPS,

SCRATCHES AND EVEN
SMALL BROKEN BITS.

THE COMPUTER SENDS
THE COORDINATES

OF THE DAMAGED ALMONDS
TO THE ROBOT.

THE ROBOT THEN FINDS THEM
AND PLUCKS THEM OUT OF THE MIX.

A HUMAN INSPECTOR NOW
PICKS OUT ANY IMPERFECT ALMONDS

THAT THE ROBOTIC SYSTEM MISSED.

THEIR FLAWS
ARE JUST SUPERFICIAL.

THEY STILL TASTE THE SAME,

SO THESE ALMONDS WILL BE
PROCESSED INTO CHOCOLATE BARS,

ALMOND BUTTER OR MILK,
BAKED GOODS AND CEREALS.

THE PERFECT ALMOND KERNELS
TRAVEL FORWARD.

JUST AHEAD, MACHINERY
MOVES CARDBOARD BOXES

INTO AN OPEN POSITION
ON A PACKAGING CAROUSEL.

SPRAYERS APPLY GLUE
TO THE BOTTOM FLAPS,

AND PUSHERS CLOSE THEM,
SEALING THE BOXES.

THE ALMONDS NOW ARRIVE
AT A SCALE.

IT RELEASES THEM INTO THE BOXES

IN APPROXIMATELY
50-POUND BATCHES.

THESE BIG BOXES OF ALMONDS WILL
BE SHIPPED TO OTHER FACILITIES

TO BE PROCESSED
INTO OTHER PRODUCTS.

SMALLER AMOUNTS WILL BE
PACKAGED FOR CONSUMER USE.

A SNACK ANYONE CAN CRACK
OR ENJOY PRE-CRACKED,

ALMONDS ARE A NATURAL
AND NUTRITIOUS CHOICE.

NO WONDER THEY'RE CONSUMED
BY THE HANDFUL.

Narrator:
DURING THE GREAT DEPRESSION,

MOTORCYCLES WERE AN INEXPENSIVE
TRANSPORTATION OPTION.

THEY WERE A CHEAPER WAY
TO GET AROUND TOWN.

BUT THESE DAYS, A MOTORCYCLE
CAN BE AN EXPENSIVE MACHINE.

NOT FOR THE PENNY-WISE, HIGH-END
MOTORCYCLES ARE ENGINEERED

AND CRAFTED FOR THE RIDER
WITH DISCRIMINATING TASTES.

THIS IS NOT A STANDARD
MASS-PRODUCED MOTORCYCLE.

THIS PERFORMANCE CRUISER TAKES
THINGS IN A DIFFERENT DIRECTION.

THE HIGH-END DESIGN
IS EXECUTED WITH PRECISION,

WITH MOST PARTS MACHINED
SPECIFICALLY FOR THIS BIKE.

PRODUCTION STARTS WITH
A CONCEPTUAL LAYOUT.

THE DESIGNER DRAWS
THE MOTORCYCLE ON A DIGITAL PAD,

PRODUCING A BLUEPRINT FOR
THE MANUFACTURING PROCESS.

THE MANUFACTURER USES
AIRCRAFT-GRADE ALUMINUM

TO MAKE MOST OF THE PARTS.

COMPUTERIZED TOOLS CARVE
THE SOLID ALUMINUM

INTO THE DESIRED SHAPE.

THIS PART WILL BE THE
MOTORCYCLE'S BELT DRIVE COVER.

THE CARVED PATTERNS MAKE IT
MORE VISUALLY APPEALING,

AND THEY REDUCE
THE COVER'S OVERALL WEIGHT.

THE COMPANY BUILDS THE EXHAUST
SYSTEM USING STAINLESS STEEL.

A TECHNICIAN WELDS
THE EXHAUST PIPES TOGETHER.

HE THEN ATTACHES
SEVERAL SPRING HANGERS

TO THE STEEL PIPE ASSEMBLY.

THE NEXT PART IS
AN IGNITION COIL MOUNT.

A RUBY PROBE SCANS THE PART
TO FIND THE CENTER.

ONCE IT'S BEEN LOCATED,

A SOFTWARE-DRIVEN
CUTTER DESCENDS,

AND ETCHES BRAND INFORMATION
AND ARTWORK

INTO THE BLACK
ANODIZED ALUMINUM.

THIS STEEL STRUCTURE WILL SERVE
AS THE MOTORCYCLE'S SKELETON.

THE TECHNICIAN INSTALLS
THE 100-HORSEPOWER,

FUEL-INJECTED V-TWIN ENGINE.

HE THEN MOUNTS THE SIX-SPEED
TRANSMISSION SYSTEM

TO THE ENGINE.

IT'S EQUIPPED WITH
A HIGH TORQUE SHAFT

THAT'S SHORTER THAN USUAL
TO MAKE THE SYSTEM MORE COMPACT.

HE BOLTS IT IN PLACE.

THE STEERING STEM HAS
A FRAMEWORK AT THE BASE

WITH THREE OPENINGS
KNOWN AS THE TRIPLE CLAMP.

HE SLIDES THE STEM
INTO THE TUBE ON THE FRAME

AND SCREWS A BEARING
ONTO THE TOP.

HE FASTENS IT WITH A NUT

THAT WILL KEEP
THE BEARING PRESSURIZED.

HE INSTALLS
A SECOND TRIPLE CLAMP

ON THE TOP OF THE ASSEMBLY.

THE CENTER HOLE
FITS ONTO THE NUT.

HE SECURES IT WITH
A STEERING HEAD NUT.

HE INSERTS THE SUSPENSION FORK
INTO THE OTHER TWO OPENINGS

IN THE TRIPLE CLAMPS
AND MAKES SOME ADJUSTMENTS.

HE PLACES A CARBON-FIBER WHEEL
BETWEEN THE FORK TUBES.

HE INSTALLS THE AXLE
THAT LINKS THE SUSPENSION

TO THE FRONT WHEEL HUB

AND TIGHTENS THE TITANIUM NUTS
ON THE AXLE FOR A BETTER FIT.

NEXT, HE CONNECTS
A SIX-PISTON BRAKE SYSTEM

TO THE SUSPENSION FORK

AND TIGHTENS THE BOLTS
THAT HOLD IT IN PLACE.

THIS COMPLETES
THE FRONT WHEEL ASSEMBLY.

HE NOW ATTACHES THE HANDLEBARS,
COMPLETE WITH DASHBOARD GAUGES,

CONTROLS AND SIDE-VIEW MIRRORS.

HE MAKES THE FINAL CONNECTIONS
FOR THE ELECTRONICS.

HE ENCASES THE GAUGES
AND WIRING WITH A PART

CALLED THE FRONT COWLING.

THE SHAPE DIVERTS AIR
OVER THE RIDER

AND AWAY FROM HIS OR HER FACE.

A TWO-PIECE GAS TANK
WILL PROVIDE MORE CAPACITY.

THE TANKS HAVE BEEN CARVED
FROM A SOLID ALUMINUM BAR,

A PROCESS THAT'S
TAKEN OVER 60 HOURS.

THE TANK ON THE RIGHT SIDE

BECOMES PART
OF THE FRAME STRUCTURE,

PROVIDING ADDITIONAL STRENGTH.

HE LOOPS BELT DRIVE PULLEYS
AROUND SHAFTS TO TRANSFER POWER

FROM THE TRANSMISSION
TO THE REAR WHEEL.

THE MOTORBIKE IS NOW READY
FOR THE BELT DRIVE COVER

WE SAW PRODUCED EARLIER.

WHILE PROTECTING THE BELT DRIVE,

THIS COVER ALSO GIVES THE
MOTORBIKE A DISTINCTIVE LOOK.

HE MOUNTS THE LEFT FOOT PEG

TO THE FRAME THROUGH A HOLE
IN THE PULLEY COVER.

THIS HIGH-END MOTORCYCLE IS NOW
READY TO HIT THE OPEN ROAD.

MAKING IT HAS TAKEN 2 WEEKS.

PREPRODUCTION FITTINGS
WITH THE CLIENT

HAVE DICTATED THE POSITION
OF THE FOOT PEDALS,

HANDLEBARS, AND THE SEAT.

IT'S BEEN TAILOR-MADE
FOR A PRECISION RIDE.

IT COSTS MORE THAN MANY
MID-RANGE CARS,

BUT THIS HIGH-END BIKE
ISN'T FOR THE BUDGET CROWD.

IT'S FOR THOSE WHO WANT
A ONE-OF-A-KIND RIDE.