Original subtitles

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

CAPTIONS PAID FOR BY DISCOVERY COMMUNICATIONS

Narrator: ELECTROPHORETIC TECHNOLOGY MIMICS THE EFFECT

OF INK ON PAPER.

THE SCREENS REFLECT LIGHT,

UNLIKE CONVENTIONAL BACK-LIT DISPLAYS THAT EMIT LIGHT.

ALSO KNOWN AS E-PAPER,

THIS TECHNOLOGY HAS CHANGED THE WAY WE SEE OUR SCREENS.

MOBILE DEVICES, E-READERS, SMART WATCHES,

AND CREDIT CARDS ALL CONTAIN ELECTROPHORETIC DISPLAYS.

WITH ITS PRINT-LIKE READABILITY AND BLUETOOTH CAPABILITY,

IT'S EASY TO SEE THE ATTRACTION.

TO MAKE AN ELECTROPHORETIC SCREEN,

POLYETHYLENE FILM IS PLACED ON A SHEET OF GLASS,

WHICH HOLDS THE FILM AS ITS PROCESSED.

PRODUCTION TAKES PLACE IN A FILTERED ROOM,

TO KEEP THE AREA CONTAMINANT-FREE.

INSIDE THE ROOM,

ROBOTS MOVE THE GLASS CARRIER THROUGH PROCESSES

THAT TRANSFORM THE FILM INTO THE BACKPLANE.

THE BACKPLANE IS THE MAIN STRUCTURE OF THE SCREEN.

IT CARRIES THE ORGANIC TRANSISTORS

THAT DRIVE THE ELECTROPHORETIC DISPLAY.

MACHINERY BUILDS UP MICRO-THIN LAYERS OF METAL,

ORGANIZE SOLUTIONS, SEMICONDUCTORS, AND ISOLATORS.

THIS SPIN CODER EVENLY SPREADS THE MATERIAL ACROSS THE FILM.

NOZZLES APPLY AN ORGANIC SOLUTION

THAT ACTS AS A BOOSTER FOR THE SEMICONDUCTORS.

THE SPIN CODER CLOSES AND ROTATES THE GLASS CARRIER

TO SPREAD THE DEPOSITED MATERIAL BY CENTRIFUGAL FORCE.

THE AUTOMATED SYSTEM ADDS LAYERS OF SEMICONDUCTORS,

ELECTRICAL ISOLATORS, AND METAL.

A RINSE OF DE-IONIZED WATER CLEANS THE COATED FILM,

AND A BLAST OF AIR BLOWS OFF THE WATER.

ROLLERS APPLY GENTLE PRESSURE

TO ENSURE THE FILM STICKS TO THE GLASS

EVEN WHEN POSITIONED VERTICALLY.

ONCE THE PHOTORESIST CHEMICAL HAS BEEN APPLIED,

THE FILM GOES INTO AN EXPOSURE CHAMBER.

A PATTERNED MASS IS PLACED IN FRONT OF THE FILM

TO BLOCK OUT LIGHTING IN SOME AREAS.

THE EXPOSURE DEFINES THE STRUCTURE OF THE METAL LAYERS

SO THAT, WHEN COMBINED WITH THE OTHER MATERIALS,

THEY'LL SERVE AS TRANSISTORS.

THE BACKPLANE FILM IS REMOVED FROM THE GLASS CARRIER.

NOW THE FILM IS READY FOR THE ELECTRONIC-INK-SHEET PLACEMENT.

A TECHNICIAN PLACES THE BACKPLANE IN A LAMINATOR.

HE USES A CAMERA TO MAGNIFY AND POSITION THE BACKPLANE.

A VACUUM IN THE LAMINATOR CHUCK HOLDS THE BACKPLANE IN PLACE.

HE PLACES THE ELECTRONIC INK SHEET ON THE CHUCK

BESIDE THE BACKPLANE AND PEELS OFF THE LINER,

EXPOSING THE ADHESIVE.

THEN THE INK SHEET AND THE BACKPLANE ARE FUSED TOGETHER.

A ROLLER PRESSES THE ASSEMBLY FOR FULL ADHESION.

ONCE THE LAMINATION PROCESS IS COMPLETE,

A TECHNICIAN REMOVES THE SCREEN FROM THE CHUCK.

THIS IS THE BACKPLANE BEFORE

AND AFTER THE ELECTRONIC INK LAMINATION.

AN AUTOMATED SYSTEM BONDS THE ELECTRONICS TO A CIRCUIT BOARD

THAT'S ATTACHED TO THE DISPLAY SCREEN.

THE SYSTEM MECHANICALLY SEALS THE CIRCUIT BOARD.

POLYMER RESIN IS APPLIED FOR STABILITY.

U.V. LIGHT CURES THE RESIN.

THIS IS THE ELECTROPHORETIC DISPLAY

BEFORE AND AFTER THE ELECTRONICS HAVE BEEN ADDED.

THIS PARTICULAR DISPLAY SCREEN WILL BE AN E-READER.

THEY LOAD A GRAPHIC WITH BLACK STRIPS ONTO THE SCREEN.

THE STRIPS SERVE AS REFERENCE POINTS,

AS A PRINTER APPLIES A COMBINATION RED, GREEN,

AND BLUE FILTER.

THE FILTER ADDS THE OPTION OF COLORED TEXT OR PICTURES.

THE PRIMARY COLORS CAN BE COMBINED TO CREATE OTHER SHADES,

EXPANDING THE VISUAL POSSIBILITIES

OF THE ELECTRONIC INK.

A MACHINE BENDS A SAMPLE SCREEN REPEATEDLY

TO CONFIRM THAT THE SAMPLE IS FLEXIBLE ENOUGH TO BE FORMED

INTO A BRACELET OR CREDIT CARD.

ADDITIONAL TESTS ARE CONDUCTED

TO CONFIRM THAT THE ELECTROPHORETIC DISPLAY

HAS THE DESIRED CLARITY AND COLOR.

DISPLAY PATTERNS CAN BE SENT FROM A PHONE TO A BRACELET

THAT HAS AN ELECTROPHORETIC SCREEN.

WITH ELECTROPHORETIC TECHNOLOGY,

THERE ARE MANY DIFFERENT WAYS TO ENJOY SCREEN TIME.

Narrator: A DRY-ERASE BOARD IS A NON-PERMANENT SURFACE

MOST COMMONLY USED IN PROFESSIONAL

OR CLASSROOM ENVIRONMENTS.

YOU SIMPLY WRITE ON THE BOARD WITH THE DRY-ERASE MARKER

AND USE A SPECIALIZED CLOTH TO WIPE AWAY THE MARKINGS.

THESE EFFECTIVE TOOLS ARE AN EASY WAY

TO GET YOUR MESSAGE ACROSS.

DRY-ERASE BOARDS ARE ALSO KNOWN AS WHITEBOARDS.

THE BOARDS WIPE PERFECTLY CLEAN

DUE TO ITS NON-POROUS SURFACE AND THE DRY-ERASE INK.

DRY-ERASE INK CONTAINS RELEASE AGENTS

WHICH PREVENT THE PIGMENTS

FROM PERMANENTLY ADHERING TO THE SURFACE.

GREEN AND BLACK DRY-ERASE BOARDS CAN ALSO BE USED AS CHALKBOARDS,

WHILE GRAY AND LOW-GLOSS WHITE DOUBLE AS PROJECTION BOARDS.

THE SURFACE MATERIAL IS A PORCELAIN-COATED STEEL SHEET --

FLEXIBLE ENOUGH TO BE ROLLED UP, BUT ALSO PRESSURE SENSITIVE.

TO START, THE ROLL IS MOUNTED ON A CUTTING MACHINE.

A TECHNICIAN PROGRAMS THE MACHINE TO CUT THE ROLL

TO A SPECIFIC LENGTH BASED ON THE BOARD'S DIMENSIONS.

WORKERS VERIFY THE LENGTH AND CHECK THAT THE PIECE IS SQUARE.

THE SURFACE MATERIAL WILL BE APPLIED

TO ONE OF SEVEN TYPES OF SUBSTRATE,

RANGING FROM CARDBOARD

TO MEDIUM-DENSITY FIBERBOARD KNOWN AS MDF.

THE NEXT STEP IS TO CUT THE LARGE SHEET OF SUBSTRATE --

IN THIS CASE, MDF -- INTO BOARD-SIZE PIECES.

ANOTHER TECHNICIAN ENTERS THE LENGTH AND WIDTH

INTO THE CUTTING MACHINE.

ONCE COMPLETE, THE MACHINE EJECTS THE SUBSTRATE,

WHICH IS NOW CUT TO THE EXACT SIZE OF THE BOARD.

NEXT, THE SUBSTRATE IS PUT THROUGH A HOT-GLUE MACHINE.

THE MACHINE APPLIES POLYURETHANE ADHESIVE

TO WHAT WILL BE THE BACK OF THE DRY-ERASE BOARD.

AS THE SUBSTRATE EXITS,

A SHEET OF FOIL IS APPLIED TO THE GLUED SURFACE.

THE FOIL PREVENTS MOISTURE FROM ENTERING,

WHICH WOULD WARP THE SUBSTRATE.

THE BOARD MOVES THROUGH TWO STEEL ROLLERS

WHICH FLATTEN THE FOIL AND PRESS OUT ANY TRAPPED AIR.

NEXT, THE SURFACE MATERIAL IS APPLIED

TO THE OTHER SIDE OF THE SUBSTRATE.

A CRAFTSWOMAN USES AN AIR HOSE TO CLEAR AWAY ANY DUST

FROM THE SIDE OF THE BOARD.

ONCE CLEANED, THE BOARD GOES THROUGH THE GLUE MACHINE.

THE PORCELAIN STEEL SHEET IS PLACED ON THE GLUED SURFACE.

TECHNICIANS WORK CAREFULLY TO ENSURE THEY DON'T TOUCH

THE PRESSURE-SENSITIVE SURFACE WITH THEIR FINGERS.

THEN THE BOARD MOVES THROUGH THE STEEL ROLLERS

TO PRESS THE PORCELAIN STEEL FLAT AND REMOVE ANY TRAPPED AIR.

ONCE 50 BOARDS ARE STACKED, TECHNICIANS PUT THEM IN A PRESS

FOR HALF AN HOUR, UNTIL THE GLUE CURES.

IN ANOTHER PART OF THE FACTORY, A MACHINE CUTS MATERIAL

TO CREATE THE BOARD'S FRAME.

IT PUNCHES "V"-SHAPED NOTCHES IN A LENGTH OF ALUMINUM TRIM.

THE TRIM BENDS AT EACH NOTCH TO FORM A WRAPAROUND FRAME.

SOME BOARDS COME WITH A MARKER TRAY THAT RUNS ALONG THE BOTTOM.

TO MAKE THESE TRAYS,

A TECHNICIAN CUTS BOARD-LENGTH PIECES

FROM A PIECE OF "L"-SHAPED METAL TRIM.

SINCE THE TRAY ENDS ARE SHARP,

A TECHNICIAN ATTACHES PLASTIC COVERS FOR PROTECTION.

HE SECURES THE PLASTIC END COVERS WITH SCREWS

ON BOTH ENDS OF THE PART.

MEANWHILE, TECHNICIANS PEEL OFF THE PROTECTIVE FILM

COVERING THE WRITING SURFACE.

THEN THEY FLIP OVER THE BOARD

TO ASSEMBLE THE PARTS FROM THE BACK.

THIS MODEL DOESN'T HAVE THE TRADITIONAL WRAPAROUND FRAME.

INSTEAD, IT HAS A FRAME COMPRISED

OF FOUR STRAIGHT "C"-SHAPED PIECES

THAT FIT OVER THE BOARD'S EDGES.

TO ADD STABILITY, TECHNICIANS ATTACH SCREWS

THROUGH THE TRIM INTO THE SUBSTRATE.

ONCE ASSEMBLY IS COMPLETE,

THE DRY-ERASE BOARD IS PLACED INTO A BOX,

READY TO BE SHIPPED TO A BUSINESS OR CLASSROOM NEAR YOU.

Narrator: AIR RIFLES ARE NOT TOYS.

THEY'RE SERIOUS WEAPONS.

USED PRIMARILY FOR HUNTING, AIR RIFLES SHOULD ONLY

BE HANDLED BY TRAINED, LICENSED PROFESSIONALS.

CHEMICALLY, AIR RIFLES USE ONE OF THREE TYPES OF POWER

DEPENDING ON THEIR DESIGN,

ALL OF WHICH UTILIZE COMPRESSED AIR

INSTEAD OF AN EXPLOSIVE CHARGE.

HANDLING AIR RIFLES SHOULD ALWAYS BE TREATED

IN A SERIOUS MANNER.

IT IS VERY IMPORTANT TO FOLLOW PROPER STORAGE

AND OPERATING SAFETY GUIDELINES

TO ENSURE IT DOES NOT GO OFF ACCIDENTALLY.

AIR RIFLES ARE MADE OUT OF PRE-MACHINED PARTS

FOR THE TRIGGER ASSEMBLY.

TO BUILD ONE HALF OF THE TRIGGER HOUSING,

A CRAFTSWOMAN USES A JIG

TO ALIGN THE END PIECES TO THE SIDE PLATE.

THEN SHE SCREWS THE PARTS TOGETHER.

SHE ATTACHES THE RELEASE LATCH

TO THE INSIDE OF THE TRIGGER HOUSING

AND INSTALLS A BASE FOR THE TRIGGER SHOE.

SHE HOOKS ONE END OF A SPRING TO THE SIDE PLATE,

AND THE OTHER END TO THE RELEASE LATCH.

A SECOND SPRING LINKS THE FIRST SPRING TO THE TRIGGER-SHOE BASE.

NEXT, A LEVER IS INSTALLED WHICH RELEASES THE FIRING PIN.

ONCE THE TRIGGER SHOE AND THE TRIGGER ARE ATTACHED,

THE ASSEMBLY IS COMPLETE.

THIS PART ABSORBS THE RECOIL EFFECT FROM FIRING.

A TECHNICIAN INSERTS THE RECOIL SPRING IN A CYLINDER

AND ADJUSTS THE TENSION.

HE SLIDES THE RECOIL ASSEMBLY INTO THE BOLT HOUSING.

THE BOLT HOUSING SEALS THE END OF THE GUN BARREL.

HE INSTALLS THE RECOIL SYSTEM AND THE HOUSING,

A LEVER FOR COCKING THE RIFLE,

AND INSERTS A LEVER PIN.

THIS END SCREW WILL ENABLE THE USER

TO ADJUST THE COCKING POSITION.

HE ATTACHES THE FIRING PIN AND THE SPRING SYSTEM...

...AND BUILDS THE AIR-PRESSURE REGULATOR

BY JOINING METAL RINGS WITH RUBBER SEALS

TO CREATE THE HOUSING.

HE STACKS WASHER SPRINGS ON A SHAFT.

HE INSERTS THE ASSEMBLY INTO THE REGULATOR HOUSING

AND ATTACHES AN AIR-PRESSURE ADJUSTMENT MECHANISM TO THE END.

USING A SPECIAL MEASURING DEVICE,

HE CONNECTS THE REGULATOR TO AN AIR CYLINDER.

THE CYLINDER FEEDS COMPRESSED AIR TO THE PRESSURE REGULATOR.

THE MEASURING TOOL INDICATES THE REGULATOR'S PERFORMANCE.

IF NEEDED, HE'LL ADJUST THE PRESSURE SETTING.

A TECHNICIAN INSERTS THE PRESSURE REGULATOR

IN THE FIRING CHAMBER HOUSING

AND PLACES A RUBBER SEAL IN ANOTHER OPENING,

FOLLOWED BY A SPRING.

THE SPRING WILL OPEN AND CLOSE THE ONE-DIRECTIONAL VALVE

THAT SUPPLIES COMPRESSED AIR TO THE FIRING CHAMBER.

ONCE THE VALVE IS INSTALLED,

HE JOINS THE FIRING CHAMBER TO THE RECOIL ASSEMBLY.

THE TWO UNITS ARE HELD TOGETHER WITH SUBSTANTIAL SCREWS.

ASSEMBLY OF THE AIR RIFLE'S MECHANICS ARE NOW COMPLETE.

A METAL COVER IS SCREWED ON TOP OF THE TRIGGER SYSTEM.

MEANWHILE, AUTOMATED DRILLS BORE INTO STEEL CYLINDERS

TO CONVERT THEM INTO RIFLE BARRELS.

A TECHNICIAN ALIGNS ONE OF THE BARRELS TO THE FIRING CHAMBER.

USING A SPACER TOOL,

HE TWEAKS THE BARREL'S PLACEMENT AGAINST THE FIRING CHAMBER

AND TIGHTENS THE BOLT TO THE BARREL.

THE TRIGGER SYSTEM IS RUN THROUGH A TEST

USING A SPECIAL MACHINE

THAT MEASURES THE FORCE IT TAKES TO OPEN THE VALVE.

AN INSPECTOR FIRES THE AIR RIFLE

TO MEASURE THE PELLET'S VELOCITY AND THE ACCURACY OF THE SHOT.

HE ADJUSTS THE TENSION ON THE FIRING-PIN SPRING.

HE LOADS THE RIFLE AGAIN AND FIRES IT ONCE MORE

TO CONFIRM THE ACCURACY OF HIS ADJUSTMENTS.

ANOTHER TECHNICIAN ATTACHES THE STOCK,

ALSO CALLED THE SHOULDER STOCK, TO THE RIFLE.

HE SCREWS THE COMPRESSED-AIR CYLINDER

TO THE PRESSURE REGULATOR, SECURING IT IN PLACE.

Narrator: QUARTZ IS ONE OF THE MOST ABUNDANT MINERALS ON EARTH.

IT'S NO WONDER ARTISANS ARE CRAFTING THIS PLENTIFUL CRYSTAL,

MIXED WITH POLYMER RESIN,

INTO KITCHEN AND BATHROOM COUNTERTOPS.

THESE ENGINEERED COUNTERTOPS HAVE LOW POROSITY,

ARE RESILIENT, AND CAN BE ENHANCED

BY PIGMENTS, SPARKLES, OR OTHER MINERALS.

QUARTZ COUNTERTOPS OFFER MORE CREATIVE DESIGNS

THAN OTHER STONE SURFACES.

SOME ARE FUSED WITH FLECKS OF MOTHER OF PEARL,

METAL FOR A MORE DRAMATIC LOOK...

...OR SPECKLED WITH MATERIALS LIKE GLASS,

PORCELAIN, AND GRANITE FOR VISUAL EFFECT.

QUARTZ ROCK ARRIVES AT THE FACTORY

BROKEN UP INTO SMALL, SHARP-EDGED CRYSTALS.

THEY'RE STORED IN OUTDOOR BINS UNTIL PRODUCTION.

THE CRYSTALS TUMBLE INTO A HOPPER

THAT FOLLOWS THEM INTO THE FACTORY.

THE GLITTERY QUARTZ CRYSTALS CASCADE ONTO A CONVEYOR,

HEADING TO A RINSING STATION.

THE CRYSTALS ENTER A REVOLVING DRUM, KNOWN AS THE TUMBLER,

AND ARE TOSSED IN THE FIRE BURNING INSIDE THE DRUM.

THE INTENSE HEAT REMOVES RESIDUAL MOISTURE

AND SANITIZES THE CRYSTALS.

THEN THE CRYSTALS ARE TRANSFERRED TO SIFTER MACHINES.

THE SIFTER MACHINES SHAKE THE CRYSTALS

THROUGH SCREENS FITTED WITH SMALLER MESH.

THE PARTICLES FLOW INTO SEPARATE BINS.

THE INGREDIENTS FOR THE QUARTZ COUNTERTOP FORMULA

ARE LOADED INTO FEEDER BINS.

THE FORMULA CALLS FOR A BLACK COUNTERTOP WITH SHINY FLECKS

AND GREEN UNDERTONES.

THE INGREDIENTS INCLUDE TWO DIFFERENT SIZES

OF QUARTZ CRYSTALS -- GREEN GLASS AND MIRROR CHIPS.

A COMPUTER RELEASES SPECIFIC AMOUNTS

OF THE INGREDIENTS INTO A HOPPER.

AS THE HOPPER OPENS,

A CONVEYOR TAKES THE INGREDIENTS TO A BLENDER.

BLACK PIGMENT IS MIXED INTO THE BLENDER,

ALONG WITH POWDERY FILLER QUARTZ.

THE MIX IS OVER 90% QUARTZ.

A POLYMER RESIN WILL ACT AS A BINDER AND ADD STRENGTH.

DOWN THE LINE, A LARGE MOLD MOVES INTO POSITION...

...AND AN OVERHEAD MIXER DISPERSES THE QUARTZ BLEND

INTO THE MOLD.

THE MIXER REPEATS THE PROCESS TWICE

TO BUILD UP THE MATERIALS TO THE DESIRED THICKNESS.

THEN THE MOLD VIBRATES,

SHAKING THE MIXTURE INTO A MORE LEVEL STATE.

THIS WILL BE THE BACK OF THE QUARTZ COUNTERTOP.

FOR ADDITIONAL STRENGTH AND FLEXIBILITY,

NYLON MESH IS ADDED TO THE COUNTERTOP MIXTURE.

A DEVICE PULLS THE MESH OVER THE MIX.

ONCE IT'S ALIGNED WITH THE MOLD CONTENTS,

THE MACHINE DROPS THE MESH INTO PLACE.

AN AUTOMATED DISPENSER SPREADS GRANULATED LIMESTONE,

FILLING ANY VOIDS IN THE COUNTERTOP MIXTURE.

NEXT, THE INGREDIENTS ARE PLACED IN A KILN FOR TWO HOURS.

A BLADE SCRAPES OFF THE LOOSE LIMESTONE FROM THE SLAB BACKING.

POLISHING HEADS STUDDED WITH INDUSTRIAL DIAMONDS

WILL NOW GIVE THE TOP OF THE SLAB A SERIOUS SHINE.

SIMULTANEOUSLY, AN OPERATOR

ADJUSTS THE TENSION OF THE POLISHERS.

THE POLISHERS SPIN AS WATER FLOWS ACROSS THE COUNTERTOP

TO PRODUCE THE DESIRED LEVEL OF GLOSS.

THIS PARTICULAR QUARTZ SLAB IS ABOUT 1/4 INCH THICK.

ITS THIN, FLEXIBLE PROFILE MEANS THE QUARTZ CAN BE SHAPED

TO DIFFERENT STRUCTURES IF NEEDED.

A TECHNICIAN PREPARERS THE TRANSFER OF PATTERN

ONTO A WHITE QUARTZ SLAB.

HE DRAPES A LONG SHEET OF PAPER, PATTERN SIDE DOWN,

ONTO THE SLAB AND TAPES IT TO THE WORK SURFACE.

HE ACTIVATES A HEAT PRESS, WHICH TURNS THE INK ON THE PAPER

INTO A GAS THAT PENETRATES THE RESIN IN THE SLAB.

THE PATTERN BECOMES INTRINSIC TO THE ENGINEERED STONE.

WITH THIS PROCESS, ANY DESIGN CAN BE PART OF A SLAB,

INCLUDING SOME THAT GIVE THE ILLUSION OF MARBLE.

BUT UNLIKE MARBLE, ENGINEERED QUARTZ WON'T STAIN.

WITH QUARTZ COUNTERTOPS,

THE POSSIBILITIES ARE ALMOST ENDLESS.