Original subtitles

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

CAPTIONS PAID FOR BY DISCOVERY COMMUNICATIONS

Narrator: YOU CAN SENSE THE DIFFERENCE BETWEEN HOT AND COLD,

BUT A THERMOMETER PUTS A NUMBER ON IT.

THE CONCEPT IS SIMPLE --

HEAT CAUSES LIQUID TO EXPAND,

FORCING IT UP A GLASS COLUMN WITH A SCALE ATTACHED TO IT.

ITALY'S GALILEO CAME UP WITH THE IDEA IN 1593.

INCREDIBLY, THESE CENTURY-OLD THERMOMETERS

CAN STILL TELL THE TEMPERATURE.

BUT MODERN VERSIONS ARE A BIT MORE PRECISE.

TO MAKE ONE, THEY CLAMP GLASS TUBING ONTO A CAROUSEL.

AS IT SPINS, TORCHES HEAT THE CENTER OF THE HOLLOW GLASS,

WHILE BELOW, THE OPERATOR PUMPS AIR INTO IT.

THIS CAUSES THE MELTED GLASS TO BLISTER.

THEY BREAK THE TUBING AT THE BLISTER,

CREATING TWO TUBES WITH FUNNEL-SHAPED OPENINGS.

THEY ANCHOR A SHORTER GLASS CYLINDER ON A TURNTABLE

AND SUSPEND ONE OF THE FUNNEL-MOUTH TUBES ABOVE IT.

THE TUBES SPIN IN CONCERT AS TORCHES MELT THEM TOGETHER.

THE FUNNEL ENSURES

THAT THE MELTING DOESN'T CLOSE THE HOLLOW TUBE.

ANOTHER TORCH NOW AIMS FURTHER DOWN THE CYLINDER.

IT SEALS THE END AND SHAPES IT INTO A BALL.

TO TEST A SAMPLE OF THE PRODUCTION RUN,

THEY HEAT THE ENTIRE LENGTH OF THE TUBING.

THIS CREATES VACUUM PRESSURE

SO THAT WHEN THEY PLACE THE OPEN END IN LIQUID WAX,

THE TUBING SIPS IT UP LIKE A STRAW.

BY WATCHING THE LIQUID ASCEND,

THEY CONFIRM THAT THE THERMOMETER FILLS AS IT SHOULD

AND HAS THE RIGHT DIMENSIONS.

NEXT, THE GLASS TUBING SWIRLS ON A CAROUSEL

AS FLAMES AND FORCED AIR WORK TOGETHER

TO FORM A LONGER BLISTER.

AGAIN, THEY BREAK THE TUBING AT THE BLISTER.

THIS BLISTER CREATES OPENINGS

THAT ALLOW THEM TO SNAKE A NARROW, HOLLOW WIRE

THROUGH THE TUBING, JOINING THE TWO SECTIONS.

FLAMES MELT AND SEAL THE GLASS AROUND THE WIRE.

THIS IS CALLED A GLASS-TO-METAL WELD,

AND IT CREATES A MORE FLEXIBLE THERMOMETER.

THEY COOL THE WELDED GLASS AND WIRE ON A CONVEYOR.

NEXT, THEY TURN ON A VACUUM PUMP FOR SEVERAL HOURS

TO PULL THE AIR OUT OF THE WIRE AND TUBING.

THIS DRAWS THE BLUE LIQUID WAX UP,

BUT THIS TIME, IT'S NOT A TEST.

THE WAX IS A NONTOXIC ALTERNATIVE TO MERCURY

THAT WILL EXPAND AND CONTRACT WITH CHANGING TEMPERATURE.

THE THERMOMETERS NOW TRAVEL THROUGH CHILLED ALCOHOL,

SHRINKING THE BLUE LIQUID

DOWN TO THE CLOSED END OF THE THERMOMETER.

AS THE TUBING TURNS,

FLAMES FOLLOW THE TOP END TO MELT AND CLOSE IT.

A HEAT GUN BELOW

THEN DRIVES THE LIQUID UP THE TUBING,

AND THE AIR PRESSURE CREATES A BUBBLE IN THE END

THAT WAS JUST CLOSED.

THIS BUBBLE WILL BE THE THERMOMETER'S EXPANSION CHAMBER.

THEY PLUNGE THE THERMOMETERS IN ICE WATER

TO CALIBRATE THE BULB LIQUID TO 32 DEGREES FAHRENHEIT.

THEY SCRATCH THE GLASS AT THAT MARK.

NEXT, THE THERMOMETERS WARM UP IN A BATH

SET AT 200 DEGREES FAHRENHEIT.

THE BLUE LIQUID SHOOTS UP, AND THEY MAKE ANOTHER SCRATCH.

THEY ALIGN THE TWO SCRATCHES IN THE THERMOMETER

WITH MARKINGS ON A PRINTED GRID.

THE DISTANCE BETWEEN THE TWO SCRATCHES OFTEN VARIES,

SO BY MEASURING AGAINST THIS GRID,

THEY CAN CALIBRATE THE THERMOMETER.

THEY THEN MATCH THE THERMOMETER WITH THE CORRESPONDING SCALE.

THEY INSTALL THE TOP SECTION OF THE THERMOMETER IN A CASE

WHICH CAN BE METAL OR PLASTIC.

THEY THEN CHOOSE THE APPROPRIATE SCALE

AND SLIDE IT BETWEEN THE GLASS TUBING AND CASE.

THEY WRAP PART OF THE WIRE CAPILLARY AROUND A JOINT

AND THEN CAP IT.

THE SENSOR BULB OF THIS THERMOMETER WILL BE USED

TO GAUGE THE TEMPERATURE INSIDE INDUSTRIAL PIPING.

SO THEY PROTECT IT WITH A METAL SLEEVE

CALLED A BULB CHAMBER.

A GLASS WINDOW SLIDES EASILY

INTO THE GROOVES OF THE CASING.

A PLASTIC CAP IS THE FINISHING TOUCH.

AND NOW THESE THERMOMETERS ARE READY TO GAUGE

THE HIGHS AND LOWS OF INDUSTRIAL PROCESSING,

AND THEY'RE SURE TO MEASURE UP TO EXPECTATIONS.

Narrator: MUCH OF WHAT YOU BUY IN THE PRODUCE DEPARTMENT

OF YOUR SUPERMARKET IS SOLD BY WEIGHT.

SO THE STORE USUALLY HANGS A SCALE AT THE END OF THE AISLE

ON WHICH YOU CAN WEIGH YOUR PURCHASE

BEFORE HEADING OFF TO THE CHECKOUT.

THIS IS TYPICALLY A TYPE OF SCALE

WITH FAIRLY SIMPLE MECHANICS.

INTERNAL SPRINGS SPIN A POINTER

TO THE CORRECT WEIGHT MARK ON A DIAL.

THE WEIGHT OF PRODUCE HANGING IN THE PAN

PULLS ON A PAIR OF SPRINGS INSIDE THE SCALE.

THEY MOVE THE VARIOUS INTERNAL COMPONENTS THAT TURN THE POINTER

TO THE CORRESPONDING WEIGHT MARK ON THE DIAL.

TO MAKE THE SCALE'S FRAME,

A PRESS STAMPS A STEEL PLATE FIVE TIMES,

PROGRESSIVELY CUTTING AND BENDING IT

INTO THE FINAL FRAME SHAPE.

A WASHER GOES INTO EACH STEEL SPRING.

THEY TURN IT UP OR DOWN TO ADJUST THE SPRING'S TENSION.

THAT'S HOW THEY'LL CALIBRATE THE SCALE LATER.

THE TOP PART OF EACH SPRING WILL BOLT TO THE FRAME,

AND THE BOTTOM PART TO THIS SLIDER --

A LONG METAL COMPONENT WITH WEIGHT MARKINGS.

NEXT, THEY ATTACH A COMPONENT CALLED A RACK

TO ONE END OF THE SLIDER,

SECURING THE SCREW TIGHTLY WITH THREAD-LOCKING FLUID.

THE RACK'S TEETH WILL MESH WITH THIS PINION GEAR AND TURN IT.

THEY INSTALL ONE END OF THE PINION INTO THE FRAME.

THEN THEY SCREW ON A METAL BRIDGE

TO SUPPORT THE OTHER END.

THEY INSERT THE SLIDER

WITH THE RACK ATTACHED THROUGH THE BRIDGE.

NOW WHEN YOU PULL ON THE SLIDER, THE PINION TURNS.

NEXT, THEY ATTACH THE SPRINGS TO THE FRAME AND SLIDER.

EACH SPRING IN THIS IMPERIAL SCALE

SUPPORTS UP TO 20 POUNDS,

MAKING THIS A 40-POUND SCALE.

WHEN WEIGHT PULLS ON THE SPRINGS,

THEY MOVE THE RACK, WHICH TURNS THE PINION,

WHICH ROTATES THE SCALE'S POINTER.

A PRESS STAMPS OUT THE DIAL FACE FROM A STEEL PLATE.

AFTER PAINTING IT WHITE,

THEY PRINT ON THE MARKINGS WITH A SILK-SCREEN PRESS.

THEY INSERT A SPRING

TO PREVENT THE RACK FROM SLIPPING ON THE PINION.

THEN THEY PUT THE FACE OVER THE BRIDGE

SO THAT THE PINION PROTRUDES THROUGH A HOLE IN THE MIDDLE.

A GUIDE HELPS THEM ALIGN THE FACE

SO THAT THE ZERO WILL BE IN THE RIGHT SPOT.

THEN THEY TIGHTEN TWO SCREWS TO ATTACH THE FACE.

A PRESS STAMPS THE POINTER FROM A THIN SHEET OF ALUMINUM.

USING A SPECIAL TOOL, THEY TWIST THE END,

FORMING A THIN TIP THAT WON'T OBSCURE THE FINE LINE

TO WHICH THE POINTER'S POINTING.

NEXT, A COAT OF RED PAINT SO THE POINTER WILL STAND OUT

AGAINST THE BLACK-AND-WHITE FACE.

ONCE THE PAINT'S DRY,

THEY MALLET THE POINTER ONTO THE PINION.

NOW THEY HANG THE PAN ON THE SCALE

AND TURN A LITTLE SCREW IN THE SLIDER

TO ADJUST THE POINTER TO ZERO.

THIS ENSURES THE SCALE WILL WEIGH JUST THE PRODUCE

RATHER THAN THE PRODUCE AND THE PAN.

NOW THEY CALIBRATE THE SCALE.

TO DO THIS, THEY LOAD IT WITH WEIGHTS TO FULL CAPACITY,

WHICH IS 40 POUNDS FOR THIS SCALE.

IF THE POINTER DOESN'T INDICATE 40 POUNDS ON THE NOSE,

THEY TURN THE WASHER IN EACH SPRING

TO ADJUST THE RESISTANCE.

THEN THEY ADJUST THE POINTER BACK TO ZERO AGAIN.

THIS IS WHAT THEY CALL A DOUBLE-DIAL SCALE,

MEANING IT HAS A FACE AND POINTER ON EACH SIDE.

THEY INSTALL THE SECOND DIAL ON THE OPPOSITE END OF THE PINION

SO THAT THE TWO POINTERS MOVE IN UNISON.

THEY CLOSE UP THE SPACE BETWEEN THE TWO DIALS

WITH A STRIP OF WHITE PLASTIC.

THIS SASH RING, AS IT'S CALLED,

HAS GROOVES FOR THE DIALS

AND FOR THE TRANSPARENT PLASTIC COVER THAT GOES OVER THEM.

HANGING SCALES CAN HAVE DIALS OR DIGITAL READOUTS,

AND THEY COME IN A WIDE RANGE OF CAPACITIES,

FROM YOUR COMMON 20-POUND, OR 10-KILOGRAM, GROCERY MODEL,

TO HEAVY-DUTY 600-POUND, OR 272-KILO, SCALES

DESIGNED TO PULL THEIR WEIGHT IN INDUSTRY.

Narrator: THE STRESSES OF FLIGHT ARE HARD ON AN AIRCRAFT'S PAINT JOB.

ICE, RAIN, AND OTHER ENVIRONMENTAL FACTORS

CAN SOON MAKE AN AIRCRAFT LOOK TRAVEL-WEARY.

REGULAR PAINT JOBS ARE JUST THE TICKET

WHEN IT COMES TO KEEPING UP APPEARANCES.

THEY ALSO HELP MAINTAIN THE INTEGRITY OF THE AIRFRAME.

PROBLEMS MAY LURK BENEATH THE OLD PAINT OF AN AIRCRAFT.

STRIPPING IT OFF CAN EXPOSE WEAKNESSES IN THE ALUMINUM SKIN.

THEY BRUSH ON A POWERFUL CHEMICAL SOLUTION.

THE PAINT BUBBLES OFF,

BARING THE ALUMINUM AND ANY SMALL HOLES OR DENTS IN IT.

THEY SEAL THE WINDOWS AND DOORS

AND WRAP SENSITIVE COMPONENTS LIKE ANTENNAS

TO PROTECT THEM DURING STRIPPING AND PRE-PAINTING.

BACK TO THOSE FLAWS ON THE EXPOSED ALUMINUM.

A PRODUCTION MANAGER

FLAGS ANY DAMAGE OR CORROSION WITH BLUE TAPE.

A TECHNICIAN THEN MIXES A TWO-PART AERODYNAMIC FILLER.

HE WORKS QUICKLY

BECAUSE THE COMPOUND WILL HARDEN IN MINUTES.

HE SPREADS THE FILLER ON THE DEFECTS

FLAGGED BY THE PRODUCTION MANAGER.

THE REPAIR JOB SMOOTHES THE SURFACE FOR PAINTING

AND MAKES THE AIRFRAME STRONGER AND MORE AERODYNAMIC.

THIS AIRCRAFT HAS BEEN PRIMED AND SANDED.

NOW TECHNICIANS BLOW OFF ALL THE DUST.

THEY ALSO WIPE IT DOWN WITH ADHESIVE CLOTHS.

THIS INTENSIVE CLEANING IS CRUCIAL.

THE PLANE HAS TO BE SQUEAKY-CLEAN

OR THE PAINT WON'T ADHERE PROPERLY.

NEXT, THEY PREPARE AN ADDITIONAL PRIMER.

THEY SPRAY IT ON AREAS THAT NEED MORE COVERAGE

AND AROUND PARTS THAT WILL GET A LOT OF WEAR.

THEY THEN MIX POLYURETHANE PAINT

WITH VARIOUS CATALYSTS AND ACTIVATORS.

IT'S A SPECIAL AIRCRAFT BLEND.

JETS CAN BE JUMBO-SIZED, OF COURSE,

SO THEY OFTEN PREP AND PAINT A SECTION AT A TIME,

SOMETIMES ON DIFFERENT DAYS.

THEY'RE NOW WORKING ON THE FUSELAGE AND TAIL.

RESPIRATORS AND FULL-BODY GEAR

PROTECT THEM FROM THE HAZARDOUS FUMES

AS THEY WORK FROM THE TOP OF THE AIRCRAFT DOWN.

A WARM, LOW-HUMIDITY ENVIRONMENT IS ESSENTIAL

TO ALLOW THE PAINT TO CURE PROPERLY.

AND THEY'LL ADJUST THE PAINT FORMULA

TO COMPENSATE WHEN CONDITIONS AREN'T OPTIMAL.

AN AIRCRAFT USUALLY GETS TWO TO THREE COATS,

RESULTING IN A HIGH-GLOSS FINISH.

WHILE IT DRIES,

A TECHNICIAN DEMONSTRATES FOR OUR CAMERA

THE PROCESS OF PAINTING STRIPES ONTO AN AIRCRAFT.

HE MAPS OUT THE PAINT SCHEME WITH TAPE,

THEN PEELS AWAY SOME OF IT.

HE SPRAY-PAINTS THE EXPOSED SECTIONS.

HE PEELS OFF MORE TAPE

AND THEN COVERS THE FRESHLY PAINTED STRIPES

WITH PROTECTIVE PAPER

SO HE CAN SPRAY ANOTHER COLOR ONTO THE PLANE.

HE PULLS BACK THE FINAL PIECES OF TAPE,

AND THIS JOB PASSES WITH FLYING COLORS.

THEY DO SOME FINAL DETAIL WORK

TO MAKE SURE THE LINES ARE CLEAN AND CRISP.

AFTER ALL, APPEARANCES COUNT

IN THE HIGH-FLYING WORLD OF INTERNATIONAL TRAVEL.

EVEN VERY TINY IMPERFECTIONS WON'T BE TOLERATED.

USING FINE-GRIT SANDPAPER, THEY MAKE THEM DISAPPEAR.

IT CAN TAKE FOUR WEEKS AND 1,800 PERSON-HOURS

TO REPAINT A LARGE JET.

AND WHEN IT COMES TO PRICE, THE SKY'S THE LIMIT.

THE LEAST EXPENSIVE JOBS COST TENS OF THOUSANDS OF DOLLARS.

SO THE CUSTOMER HAS THE FINAL SAY.

THE HANDSHAKE MEANS

THIS PLANE IS READY TO MODEL ITS NEW LOOK ON THE RUNWAY.

Narrator: BITE INTO A LUXURY CHOCOLATE,

AND YOU'LL GET A TASTE OF ONE OF THE FINER THINGS IN LIFE.

EACH ONE TASTES DIFFERENT FROM THE NEXT,

AND IT'S THAT ELEMENT OF SURPRISE

THAT KEEPS US COMING BACK FOR MORE.

OF COURSE YOU COULD CONSULT THE INDEX ON THE BOX,

BUT THAT WOULD SPOIL THE FUN.

EVER SINCE CHOCOLATE WAS DISCOVERED,

PEOPLE HAVE HAD A CRAVING FOR IT.

TODAY'S LUXURY CHOCOLATES TAKE OUR ADDICTION

TO A WHOLE NEW LEVEL.

THEY ADD MARSHMALLOW CREAM AND LOTS OF PURE BUTTER

TO A MIX OF SUGAR AND CORN SYRUP

TO WHIP UP SOME BUTTERCREAM CHOCOLATES.

WATER, VANILLA, AND A SPECIAL YEAST ENZYME

COMPLETE THE RECIPE.

THE ENZYME WILL ENHANCE THE CREAMINESS.

THEY TUCK THE BUTTERCREAM BETWEEN RIDGED ROLLERS,

WHICH SHAPE IT INTO CREAMY COLUMNS.

A WIRE SLICES THEM INTO BITE-SIZED MORSELS.

THEY TAMP THE BUTTERCREAMS TO A UNIFORM HEIGHT.

CHOCOLATE OOZES UP THROUGH THE SLATS OF THIS CONVEYOR

TO COAT THE BOTTOMS OF THE CREAMS.

THEN IT'S ON TO A COOL SURFACE TO SOLIDIFY.

NEXT, THE CREAMS TRAVEL THROUGH TWO CURTAINS OF CHOCOLATE

WHILE BEING COATED ON THE BOTTOMS AGAIN.

A WORKER USES HER FINGERS TO MAKE A SYMBOL ON THE TOP.

IT'S A CLUE AS TO WHAT'S INSIDE.

A TRIP THROUGH A 24 1/2-FOOT-LONG COOLING TUNNEL

HARDENS THE CHOCOLATE, AND IT'S A FEAST FOR THE EYES.

YOU CAN LOOK, BUT DON'T TASTE.

THESE CHOCOLATES ARE HEADED TO THE STOCKROOM.

NOW PRODUCTION TAKES A SWEET TURN

AS THEY COOK UP A CARAMEL FILLING.

THEY ADD SUGAR AND SALT TO WATER,

FOLLOWED BY CORN SYRUP AND A LOT OF HEAVY CREAM.

THEY FIRE UP THE BURNER AND TURN ON THE MIXER.

THEY ADD BUTTER TO ENHANCE THE FLAVOR.

AS THE MIX COMES TO A BUBBLING BOIL,

IT CARAMELIZES.

THEN THEY KILL THE HEAT.

OTHERWISE, THE NEXT INGREDIENT, PURE VANILLA, WOULD EVAPORATE.

THEY APPLY A NONSTICK SUBSTANCE TO A BIG PAN,

THEN POUR THE CARAMEL INTO IT.

THEY LEAVE IT TO SET OVERNIGHT.

THE NEXT DAY, THEY DIVIDE THE CARAMEL SLAB INTO SQUARES.

THEY FEED THE CARAMEL SQUARES

INTO A DEVICE WITH CIRCULAR KNIVES.

IT'S CALLED A GANG CUTTER,

AND IT SLICES THE SQUARES INTO STRIPS.

THEY TURN THE SLICED SQUARE SIDEWAYS,

AND IT GOES THROUGH THE GANG CUTTER AGAIN

TO CREATE CARAMEL CUBES.

THEY DUST THE CARAMELS WITH STARCH

SO THEY WON'T STICK TO EACH OTHER

AS THEY GO THROUGH THE CHOCOLATE-COATING SYSTEM.

AND THAT'S HOW THEY GET THE CARAMEL IN THE CHOCOLATE.

TO MAKE CORDIAL-CHERRY CHOCOLATES,

THEY LOAD THE CHERRIES INTO A REVOLVING PAN.

THEY ADD SUGAR CRYSTALS, AND AS THE CHERRIES ROLL AROUND,

THEY GET AN EVEN COATING.

ALONG WITH THE SUGAR,

THESE CHERRIES HAVE BEEN COATED WITH A SPECIAL ENZYME.

IT WILL TURN THE SUGAR TO LIQUID OVER THE NEXT 10 DAYS

FOR A JUICER CHERRY TASTE.

THE ENZYME EFFECT

IS WHY THE CHERRIES GET AN EXTRA COATING OF CHOCOLATE.

IT CREATES A SOLID SHELL THAT CONTAINS THE SUGARY LIQUID.

AND NOW THEY'RE READY FOR CHERRY-PICKING CHOCOHOLICS.

EACH BOX OF CHOCOLATES CONTAINS 18 TO 20 DIFFERENT VARIETIES.

SINCE THEY MAKE THREE TO FOUR FLAVORS A DAY,

IT CAN TAKE UP TO A WEEK

TO PRODUCE ONE OF THESE LUXURY ASSORTMENTS.

OF COURSE, THEY'LL BE DEVOURED IN NO TIME AT ALL.

FOR THE CUSTOMER, IT'S ONE SWEET DEAL.

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