All language subtitles for How.Its.Made.S31E06.Rice.Cookers.1080p.AMZN.WEB-DL.DDP2.0.H.264-SLAG_track4_[eng]

--Captions by VITAC--
www.vitac.com

CAPTIONS PAID FOR BY
DISCOVERY COMMUNICATIONS

Narrator: PREPARING RICE IN
AN ELECTRIC COOKER

IS EASIER THAN COOKING RICE
ON THE STOVE.

YOU THROW IN THE RICE AND WATER,
PRESS A BUTTON,

AND WALK AWAY UNTIL IT'S READY.

THIS MACHINE IS DESIGNED
TO STEAM RICE TO PERFECTION.

RICE COOKERS USE INDIRECT HEAT

TO CIRCULATE STEAM
AROUND RICE AND WATER,

FROM THE OUTER POT
TO AN INNER POT.

THIS PROCESS COOKS THE RICE
EVENLY IN HALF AN HOUR.

TO CAST THE OUTER COOKING POT,

ALUMINUM INGOTS
ARE MELTED IN A FURNACE.

A ROBOTIC ARM SCOOPS UP

THE REQUIRED AMOUNT
OF MOLTEN ALUMINUM

WITH A LADLE...

...THEN POURS IT
INTO THE TOP OF THE MOLD.

IT TAKES THE METAL FOUR MINUTES
TO COOL AND SOLIDIFY.

THEN TECHNICIANS EXTRACT
THE POT FROM THE MOLD.

TO REFINE ITS FORM,

THE POT IS MOUNTED
ON A COMPUTER-GUIDED LATHE.

AS IT SPINS,

SEVERAL MACHINES CONTOUR
THE POT'S OUTSIDE SURFACE

TO ITS FINAL SHAPE.

NEXT, THE POT IS LOADED ONTO
AN AUTOMATED DRILLING MACHINE.

THE MACHINE PUNCTURES 18 HOLES
THROUGH THE BOTTOM.

THE RICE COOKER'S
HEATING COMPONENTS

AND ITS PAINTED STEEL SHELL

ARE ATTACHED TO THE OUTER POT
THROUGH THESE HOLES.

THEN THE POT IS RETURNED
TO THE COMPUTER-GUIDED LATHE.

A TOOL POLISHES THE INTERIOR

UNTIL THE ALUMINUM
IS SMOOTH AND BRIGHT.

A DISK OF STAINLESS STEEL
IS PLACED IN A PRESS.

THE PRESS MOLDS THE STEEL
INTO THE INNER COOKING POT.

THE NEXT PRESS TRIMS OFF
ANY EXCESS METAL AROUND THE TOP,

LEAVING A CLEAN AND EVEN EDGE.

ANOTHER MACHINE CURLS THAT EDGE
TO FORM A ROUNDED LIP.

THE LIP STRENGTHENS THE POT
AND PROVIDES A PLACE TO GRIP

WHEN THE INNER POT
IS PLACED INTO THE OUTER POT.

ONCE POLISHED, THE POT
IS PLACED IN ANOTHER PRESS.

THIS PRESS STAMPS
WATER-LEVEL LINES ON THE SIDE

AND A TRENCH ON THE BOTTOM.

THE TRENCH HELPS THE WATER
EVAPORATE QUICKLY.

NEXT, AN AUTOMATED BOOTH PAINTS
THE RICE COOKER'S STEEL SHELLS.

THE SHELLS ARE BAKED IN AN OVEN

FOR 15 MINUTES
AT 390 DEGREES FAHRENHEIT

SO THAT THE PAINT CAN SET.

WITH A PAD PRINTER,
THE COMPANY LOGO

IS APPLIED TO THE SHELL.

TECHNICIANS INSTALL
PART OF THE SWITCH MECHANISM

TO THE SHELL.

ANOTHER TECHNICIAN PLACES
THE HEATING ELEMENT IN A SLOT

ON THE BOTTOM OF THE OUTER POT,

SECURING IT WITH THREE CLIPS.

THEY INSTALL
TWO CONNECTION PLATES

USED TO ATTACH
THE STEEL SHELL --

A PORCELAIN PLATE
AND A MAGNETIC CORE.

THE CORE CONTROLS
THE ON/OFF SWITCH

BASED ON THE TEMPERATURE
INSIDE THE COOKER.

THE TECHNICIAN CONNECTS
THE POWER CORD

AND ATTACHES
THE THERMAL-INSULATION SHEET,

WHICH ALLOWS THE COOKED RICE

TO MAINTAIN A TEMPERATURE
OF 158 DEGREES FAHRENHEIT.

THIS PART
OF THE SWITCH MECHANISM

HOVERS OVER THE MAGNETIC CORE.

WHEN THE COOKING TEMPERATURE
HITS 158 DEGREES FAHRENHEIT,

THE CORE ACTIVATES THE SWITCH
TO TURN OFF THE HEATING ELEMENT

AND START UP
THE THERMAL-INSULATION SHEET.

AFTER MORE SWITCH WIRING,
TECHNICIANS INSTALL THE FUSE,

WHICH PREVENTS THE COOKER
FROM OVERHEATING.

ONE END IS CONNECTED
TO THE HEATING ELEMENT,

THE OTHER END TO THE POWER CORD
BY THE PORCELAIN PLATE.

THE PAINTED STEEL SHELL

IS ATTACHED
TO THE BASE OF THE OUTER POT.

ONCE ATTACHED,
EACH CONNECTION PLATE

IS SECURED WITH SCREWS,

THEN HANDLES ARE INSTALLED.

FINALLY, EVERY RICE COOKER
UNDERGOES A TEMPERATURE TEST.

AFTER STARTING THE MACHINE,

THE COOKING TEMPERATURE
IS MEASURED WITH A THERMOMETER.

ONCE APPROVED, THE COOKER
IS PACKAGED WITH A COVER

AND PERFORATED INSERT
FOR STEAMING OTHER FOODS.

TO USE THE COOKER, YOU PUT RICE
AND WATER IN THE INNER POT

AND WATER IN THE OUTER POT.

IN UNDER AN HOUR,
THE HEATING ELEMENT TURNS OFF,

AND THE INSULATION SHEET
KICKS IN TO KEEP YOUR RICE WARM.

Narrator: ONE WAY TO KEEP
PERSONAL VALUABLES SECURE

AND SAFELY OUT OF SIGHT

IS BY STORING THEM
IN CONCEALMENT FURNITURE.

THIS CUSTOM-DESIGNED HOME DECOR
ALLOWS YOU OR YOUR FAMILY

AN UNDERSTATED PLACE TO STORE
AND LOCK A NUMBER OF ITEMS.

THIS SEEMINGLY ORDINARY BOOKCASE
HAS A FEW SURPRISES.

BEHIND IT'S DECORATIVE MEDALLION
IS A HIDDEN RELEASE

FOR SIDE PULLOUT COMPARTMENTS.

AND INSIDE THE LOWER SECTION
IS A WIRELESS KEYPAD

WHICH UNLOCKS A DRAWER.

THIS COMPANY HANDCRAFTS
VARIOUS ITEMS,

FROM DRESSERS
TO MIRRORS TO WALL ART.

EACH PIECE OF FURNITURE
IS CUSTOMIZED

BASED ON THE CUSTOMER'S WOOD,

FINISH,
AND STORAGE CONFIGURATION.

TO CREATE A VALANCE AT THE TOP
OF A BOOKCASE,

A PLANER LEVELS A PIECE OF WOOD
TO ITS REQUIRED THICKNESS.

A COMPUTER-GUIDED ROUTER CARVES
DESIGNS INTO THE WOOD

AND CUTS OUT THE SHAPE
OF THE MEDALLION.

NEXT, THE MEDALLION

IS ATTACHED TO THE VALANCE
AND RELEASE DEVICE

THROUGH THREE SLOTS
AT THE CENTER OF THE VALANCE.

THIS IS ONE
OF THE SIDE PULLOUTS

AFTER ASSEMBLY IS COMPLETE.

LIKE THE VALANCE COMPONENTS,

THE ROUTER CARVED
THE DESIGN ON THE FRONT PANEL.

A CRAFTSMAN USES
AN ELECTRIC SANDER

ON THE PULLOUT'S SIDE PANEL
WHICH HAS NO CARVING.

ALL THE DECORATIVE DETAILS
ARE SANDED BY HAND.

THE CRAFTSMAN ASSEMBLES
THE SECOND SIDE PULLOUT.

A LASER ENGRAVES
THE COMPANY'S NAME AND LOGO

ON THE INSIDE
OF THE SIDE PANEL.

THE CRAFTSMAN MEASURES AND MARKS

WHERE THE PULLOUT'S BOTTOM
AND TOP PANELS WILL BE PLACED.

GLUE IS APPLIED INTO A GROOVE

RUNNING THE LENGTH
OF THE FLUTED FRONT PANEL.

THEN THE SIDE PANEL IS INSERTED
INTO THE GROOVE

AND THE PARTS
ARE CLAMPED TOGETHER.

THE BOTTOM AND TOP PANELS
ARE GLUED

AT THE PRE-MARKED POINTS
AND SECURED.

ALL THE WOODEN COMPONENTS
OF THE BOOKCASE

ARE GLUED TO EACH OTHER.

THREE TEMPORARY BOARDS

IN BETWEEN
THE TOP AND BOTTOM PANELS

KEEP THE STRUCTURE SQUARE
WHILE THE GLUE DRIES.

NEXT, A CRAFTSMAN ASSEMBLES
THE TOP OF THE BOOKCASE,

ATTACHING THE BASE AND SIDES,
BACK, TOP, THE VALANCE,

AND CROWN MOLDING.

THE CUSTOMER SELECTS THE COLOR
OF THE FINISH.

PAINTED ON BY HAND,

THE STAIN TAKES
UP TO AN HOUR TO DRY.

A CRAFTSMAN SPRAYS ON A COAT
OF VINYL SEALER.

ONCE THE SEALER DRIES,
THE SURFACES ARE SANDED

AND TWO COATS OF FAST-DRYING
LACQUER ARE APPLIED.

THE CRAFTSMAN SANDS THE WOOD
BETWEEN APPLICATIONS.

NEXT, THE HARDWARE IS INSTALLED.

A TECHNICIAN ATTACHES
THE DRAWER SLIDES

FOR EACH SIDE PULLOUT...

BOLTS IN THE LOCK
FOR THE HIDDEN RELEASE DEVICE,

AND SECURES A TRIANGULAR LATCH
TO THE PULLOUT.

THEN A LONG ROD IS INSERTED.

THIS CONNECTS THE LOCKS
TO THE RELEASE

SO WHEN YOU SLIDE THE CENTER
MEDALLION RIGHT OR LEFT,

IT PUSHES THE ROD
AGAINST THE PULLOUT LOCK,

POPPING THE LATCH.

THE CORRESPONDING DRAWER SLIDES
ARE ATTACHED TO THE PULLOUT.

THE TRIANGULAR LATCH,
WHICH RELEASES THE PULLOUT,

GOES IN THE TOP FRONT CORNER
SO THAT IT ALIGNS WITH THE LOCK.

ONCE THE PULLOUTS ARE INSTALLED,

THEY FORM THE SIDES OF THE UPPER
SECTION OF THE BOOKCASE.

THESE SECTIONS ARE NOW USEABLE,
STURDY STORAGE COMPARTMENTS.

THE NEXT STEP IS TO CONNECT
THE ROD TO THE CENTER MEDALLION.

THE CRAFTSMAN BOLTS
A RECTANGULAR PIECE OF METAL

TO THE MEDALLION THROUGH
THE VALANCE'S TOP SLOT,

CONNECTING THE MEDALLION
TO THE VALANCE

THROUGH THE OTHER TWO SLOTS.

A LARGE OPENING ON THE TOP
OF THE BOOKCASE

PROVIDES ACCESS TO THE DEVICE
SHOULD IT EVER NEED REPAIR.

ONCE JOINED
WITH THE LOWER SECTION,

THE BOOKCASE,
LIKE THIS CHINA CABINET,

IS READY FOR DOUBLE DUTY.

Narrator: OFTEN ASSOCIATED
WITH JAPANESE CULTURE,

TRADITIONAL ORIGAMI
IS BEST KNOWN

AS THE ART OF PAPER FOLDING.

IT DATES BACK TO AT LEAST
THE 17th CENTURY.

TODAY, MARKETING COMPANIES
ARE ENGINEERING ORIGAMI

FOR PROMOTIONAL USE,

CREATING MATERIALS
WITH MORE IMPACT

THAN YOUR STANDARD BROCHURE.

OPEN THIS INVITATION, AND
AN INTERESTING SCENE UNFOLDS.

BASED ON STRATEGIC
MARKETING RESEARCH,

NONTRADITIONAL INVITATIONS

AND THREE-DIMENSIONAL
PAPER STRUCTURES

CAN ATTRACT MORE INTEREST.

A SPECIALIST
KNOWN AS A PAPER ENGINEER

REPLICATES AN ULTRASOUND MACHINE
IN ORIGAMI.

THE PAPER ENGINEER
BREAKS DOWN THE DESIGN

INTO FLAT PARTS TO BE PRINTED
AND FOLDED INTO MODULAR PIECES.

GUIDED BY A DIGITAL DESIGN,

A MACHINE CUTS AND SCORES
A THICK SHEET OF PAPER

IN THE SHAPE OF
THE ENGINEERED ORIGAMI PARTS.

LATER, THE SCORED SHAPES WILL BE
PUNCHED OUT AND ASSESSED.

THE DESIGN WILL NEED TWEAKING

BEFORE THE PIECES
OF PAPER ULTRASOUND

ARE READY FOR MASS PRODUCTION.

NEXT, THE DESIGNER
FOLDS THE CUTOUTS

AND GLUES THEM TOGETHER,

CREATING THE BASE
OF THE ULTRASOUND.

THIS PARTICULAR MODULE
IS A TEST BUILD

TO CONFIRM
THAT IT FOLDS CORRECTLY

AND WILL FIT TO THE OTHER PARTS
OF THE MINI PAPER REPLICA.

THE DESIGNER MAKES
MORE PROTOTYPES

AND ADJUSTS
SOME OF THE PARAMETERS.

HE BUILDS
THE UNDERCARRIAGE AND WHEELS

OUT OF CHIPBOARD.

THESE ELEMENTS SUPPORT
THE PAPER MODULAR STRUCTURE.

EACH PART IS LABELED
ACCORDINGLY.

THE DESIGNER CONSTRUCTS
THE FINAL PROTOTYPE,

CHECKING THAT THE SEAMS
ARE TIGHT

AND THAT ALL THE PARTS
ARE IN PERFECT ALIGNMENT.

ONCE STRUCTURALLY SOUND,

THE DESIGNER STARTS BUILDING
THE GRAPHIC DETAILS.

HE REFERS TO PHOTOS
OF THE PROTOTYPE

AND COMPARES THEM
TO THE FLAT SCREEN IMAGE.

WHEN COMPLETE, THE ARTWORK
IS PRINTED, PRODUCING A PROOF.

THE PROOF IS A TEST COPY
OF THE ARTWORK.

THE AREAS TO BE GLUED OR CUT OUT
ARE PRINTED IN GREEN.

THIS IS DONE TO INDICATE
THAT NO INK OR COATINGS

ARE NEEDED
DURING THE FINAL PRINTING.

THE TECHNICIAN DOES
AN INITIAL CHECK

TO CONFIRM
THE QUALITY OF THE PRINT

AND THAT ALL THE ART
HAS BEEN PROPERLY PLACED.

THEN, THE DESIGNER
AND THE PRODUCTION SUPERVISOR

EVALUATE THE PROOF.

THEY CONFIRM THAT THE LINES

CORRESPOND WITH THOSE
OF THE CUTTING DIE

BY COMPARING FOLDED MODULES
TO THE FLAT PROOF.

THIS STEP ENSURES THAT
WHEN THE ARTWORK IS PRINTED

FOR MASS PRODUCTION,
THE CUTOUTS WILL FIT.

ADJUSTMENTS ARE MADE TO ANY
PROBLEMATIC AREAS OF THE PROOF.

ONCE THE ARTWORK IS COMPLETE,

THE REVISED ARTWORK IS PRINTED
AND SCORED BY A DIGITAL CUTTER.

THIS COMPUTERIZED CUTTER
IS ONLY USED FOR TEST PURPOSES.

A CUTTING DIE WILL BE USED
FOR MASS PRODUCTION

OF THE ORIGAMI PARTS.

TECHNICIANS INSERT THE CUTOUTS

IN THE CORRESPONDING PARTS
OF THE DIE.

THIS STEP CONFIRMS
THAT THE LINES ARE CORRECT

AND ARE READY TO GO TO PRINT.

MACHINES MAY MASS PRODUCE

THOUSANDS OF PRINTED
AND DIE-CUT SHEETS,

BUT IT'S UP TO THE ASSEMBLERS

TO FOLD AND GLUE
THE MODULES TOGETHER.

THE ASSEMBLER STARTS
WITH A BASE,

FOLLOWED BY THE ARTICULATING ARM
FOR THE ULTRASOUND SCREEN.

THE ARM FITS INTO A SLOT
IN THE BASE,

WHICH CAN BE LIFTED AND LOWERED.

THE ASSEMBLER ATTACHES
THE CONTROL PANEL

TO THE LOWER PART OF THE ARM.

HE INSTALLS THE FOLDED
ULTRASOUND SCREEN ON THE TOP

AND INSPECTS HIS WORK.

WEEKS OF DESIGN AND PLANNING
HAVE GONE INTO THIS MOMENT.

NOW ASSEMBLED, THIS PIECE
OF PROMOTIONAL ORIGAMI

CAN BE PACKAGED AND
MAILED TO TARGETED RECIPIENTS.

Narrator: HEDGE SHEARS
HAVE LONG STEEL BLADES

THAT HOLD A SHARP EDGE.

THEY'RE ESSENTIALLY
A SERIOUS PAIR OF SCISSORS.

USED BY A SKILLED GARDENER,

THEY CAN CUT A LARGE AREA
OF VEGETATION WITH ONE STROKE.

NEEDLESS TO SAY, HEDGE SHEARS
CAN TRULY CHANGE THE LANDSCAPE.

TAMING AN UNRULY HEDGE OR GARDEN
OFTEN CALLS FOR SHEER STRENGTH.

THAT'S WHY, FOR MANY GARDENERS,
HEDGE SHEARS ARE A GO-TO TOOL.

TO MAKE HEDGE SHEARS,
TECHNICIANS CUT OUT THE BLADES

FROM CARBON STEEL
USING A DIE CUTTER.

THE STEEL UNCOILS AND TRAVELS
OVER A ROLLER CONVEYOR,

SENDING IT TO THE CUTTER.

THE DIE CUTTER STAMPS OUT
MULTIPLE BLADE BLANKS.

ONCE THE STEEL ADVANCES, THE DIE
CUTS THE NEXT BATCH OF BLANKS,

CUTTING A HOLE IN THE CENTER

FOR THE ASSEMBLY
OF THE SHEAR BLADES.

A TECHNICIAN ARRANGES
THE BLADE BLANKS

ON A CONVEYOR
HEADING TO THE OVEN.

THE BLANKS BAKE AT
1,470 DEGREES FAHRENHEIT.

THIS HEAT TREATMENT IS THE FIRST
STAGE OF THE HARDENING PROCESS.

ANOTHER TECHNICIAN EXPOSES
THE CUTTING EDGE TO THE HEAT.

THIS MAKES THE EDGE
A LITTLE STRONGER

THAN THE REST OF THE BLADE.

THE TECHNICIAN SUBMERGES
THE BLADE IN OIL

TO BRING DOWN THE TEMPERATURE,

WHICH COMPLETES
THE HARDENING PROCESS.

A GRINDING STONE REMOVES
THE DULL, GRAY LAYER

ON BOTH SIDES OF THE BLADE.

THIS GETS RID OF SCORCH MARKS,
AND IT BRIGHTENS THE FINISH.

THEN THE GRINDER CLEANS
AND SHARPENS THE BLADES.

BEFORE THE GRINDING,
THE HEDGE-SHEAR BLADE

LOOKED LACKLUSTER,

AND ITS PERFORMANCE
WOULD HAVE BEEN DULL.

THE GRINDING HAS GIVEN THE BLADE
A SHEEN AND A CUTTING EDGE.

NEXT, TECHNICIANS INSTALL
A RUBBER BUMPER DEVICE

ON THE BLADE'S STEM.

THE RUBBER WILL CUSHION
THE FORCE OF THE IMPACT CREATED

AS THE SHEAR BLADES
COME TOGETHER.

ANOTHER TECHNICIAN
JOINS THE BLADES

WITH A PIVOT BOLT AND NUT.

THIS CONNECTION
ALLOWS THE SHEARS

TO SWING TOWARD EACH OTHER.

A TEAM EXAMINES THE BLADES

TO CONFIRM
THEY'RE ENGAGED PROPERLY

AND OPERATE SMOOTHLY.

IF NEEDED,
THEY ADJUST THE INTERFACE

BY BENDING BACK THE BLADES.

THIS TWEAKING CAN BE CRITICAL

TO THE FUNCTIONING
OF THE HEDGE SHEARS.

THEN THE SHEARS ARE PLACED
IN A FIXTURE,

AND THE DEVICE
PRESS-FITS TELESCOPING HANDLES

ONTO THE TANGS.

AN INSPECTOR TESTS
THE TELESCOPING ACTION

TO CONFIRM THAT THE HANDLES
EXTEND AND RETRACT EFFECTIVELY.

OTHER TECHNICIANS SLIDE
PLASTIC GRIPPER SLEEVES

ONTO THE ENDS OF THE HANDLES.

IT'S AN INITIAL INSTALLATION.

THE GRIPPER SLEEVES

WILL NEED TO BE PUSHED
FURTHER UP THE HANDLES.

A MECHANICAL PUSHER
SHOVES THE GRIPPERS

INTO THEIR FINAL POSITION.

IT'S A PRESS FIT --
NO GLUE OR SCREWS REQUIRED.

THE TIPS OF THE HEDGE SHEARS

ARE DIPPED
IN AN ANTI-RUST SOLUTION

AND PLACED ON A RACK TO DRY.

THEN A WORKER RUBS
THE SOLUTION RESIDUE

INTO THE STEEL.

THE SHEARS UNDERGO
ANOTHER INSPECTION,

WHICH CHECKS THE INTERFACE
OF THE BLADES ONE LAST TIME.

THE TECHNICIAN TWEAKS THE ANGLE
OF THE BLADES

AND TIGHTENS THE PIVOT BOLT.

A LABEL IS PRESSED
ON THE SHEARS,

PROVIDING PRODUCT INFORMATION
AND SAFETY PRECAUTIONS.

THE HEDGE SHEARS UNDERGO
A FINAL INSPECTION.

ONCE CLEARED, THEY ARE PACKED
FOR SHIPPING.

THESE HEDGE SHEARS
SHOULD HOLD UP

TO YEARS OF TRIMMING,
CUTTING, AND PRUNING.

WITHOUT THEM, GARDENS MIGHT LOOK
A LOT WILDER.