All language subtitles for How.Its.Made.S13E09.Alpine.Skis.and.Laser.Cutters.1080p.AMZN.WEB-DL.DDP2.0.H.264-SLAG_track4_[eng]

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Narrator:
FOR THIS INVENTION,

THE PATH TO SUCCESS
HAS BEEN BUMPY AND ROCKY,

AND THAT'S THE WHOLE IDEA.

THE ALL-TERRAIN VEHICLE WAS
DEVELOPED FOR OFF-ROAD DRIVING

BACK IN THE 1970s.

THE FIRST MACHINES
WERE THREE-WHEELERS,

AND THEN THE SAFER FOUR-WHEELERS
CAME ALONG,

IMPROVING ON A CONCEPT
THAT WAS TRULY TRAILBLAZING.

IF YOU'RE LOOKING FOR ADVENTURE,

AN ALL-TERRAIN VEHICLE
WILL GET YOU OUT OF A RUT.

ALL THAT BOUNCING AROUND
WON'T HURT A BIT

BECAUSE THE INDEPENDENT
REAR SUSPENSION

TAKES SOME OF THE SHOCK
OUT OF THAT BUMPY RIDE.

TO MAKE AN ALL-TERRAIN VEHICLE,

THEY CLAMP PIECES OF THE STEEL
FRAMEWORK TO A WORKTABLE.

THE TABLE FLIPS
AND LANDS IN A PRECISE POSITION

FOR WELDING ROBOTS
TO GO TO WORK.

THESE COMPUTERIZED ROBOTS
DO ALL THE BIG WELDS.

HUMANS TAKE OVER
FOR THE MORE INTRICATE WORK.

ONCE THE VEHICLE MAINFRAME
IS COMPLETE,

THEY HANG IT
ON AN OVERHEAD RAIL,

WHICH TAKES IT
THROUGH A PAINTING STATION.

WHEN THE PAINT IS DRY,
THEY LOCK IT ONTO RAILS

THAT WILL MOVE IT
DOWN THE ASSEMBLY LINE.

THEY TIE THE RADIATOR TO IT
WITH HOSE.

IT WILL BE ATTACHED
MORE SECURELY LATER.

THE STEERING AXLE FOR
THE FRONT WHEELS GOES IN NEXT.

AT THE NEXT STATION,

THEY BOLT THE STEEL HANDLEBARS
TO THE FRONT OF THE VEHICLE.

THEY HOIST A 300cc ENGINE
INTO THE CHASSIS.

IT'S SUITABLE FOR BEGINNERS
OR SMALLER RIDERS.

THEY FIT THE CARBURETOR
INTO THE ENGINE MANIFOLD.

MOVING DOWN THE LINE,

THEY INSTALL THE SUSPENSION
SYSTEM FOR THE FRONT WHEELS

AND RUN THE BRAKE LINES
TO THE BRAKE DISKS.

THEY BRACE THE SUSPENSION
WITH A STEEL BRACKET.

THE EXTRA SUPPORT
WILL COME IN HANDY

WHEN THIS ATV
IS ON ROUGH TERRAIN.

THEY PUSH THE OUTER EXHAUST PIPE
ONTO ONE

THAT EXTENDS FROM THE ENGINE

AND HOOK THEM TOGETHER
WITH SPRINGS.

THEY THEN SLIDE
THE FRONT AND REAR CLUTCHES

ONTO GROOVED SHAFTS

AND CONNECT THEM
WITH A RUBBER BELT

TO TRANSMIT POWER FROM
THE ENGINE TO THE TRANSMISSION.

THE RADIATOR

HAS BEEN PERMANENTLY MOUNTED
TO THE CHASSIS,

AND THEY BOLT THE COOLANT TANK
TO THE FRAMEWORK ABOVE IT.

THE 4 1/2-GALLON FUEL TANK GOES
BETWEEN THE HANDLEBARS AND SEAT.

THEY INSERT THE AIR-FILTER BOX
IN AN OPENING BEHIND THE TANK.

THIS MUCH BIGGER LID GOES ON
THE STORAGE BOX IN THE FRONT.

AND AFTER A LITTLE
TRADEMARK ARTWORK,

THEY PUSH THE INSTRUMENTATION
PANEL INTO PLACE

BETWEEN THE HANDLEBARS.

FOOTWELLS MADE OF RIGID PLASTIC
FLANK EACH SIDE OF THE ATV.

AT THE NEXT STATION,

THEY MOUNT THE FRONT GRILLE
AND HEADLIGHTS.

THEY SCREW A RACK ONTO THE BACK.

IT CAN BE USED
TO TIE DOWN ANYTHING

FROM CAMPING GEAR TO GAME.

WORKERS THEN PRESS
A COMFY VINYL SEAT

ONTO THE CENTER OF THE VEHICLE,
SNAPPING IT INTO PLACE.

NOW THIS ALL-TERRAIN VEHICLE
IS READY FOR ITS WHEELS.

THE BACK ONES ARE LARGER

TO PROVIDE THAT CUSHIONING
EFFECT OVER THE BUMPS,

WHILE THE SMALLER WHEELS
IN THE FRONT

PROVIDE TRACTION
AND MANEUVERABILITY.

THEY APPLY REFLECTOR DECALS
TO THE SIDES AND BACK,

SO THE ATV CAN BE SEEN
MORE EASILY WHEN DAYLIGHT DIMS.

THE TANK HAS BEEN FUELED,

AND THIS ATV IS READY TO TAKE
A RIDE ON THE DRUM TESTER.

THE OPERATOR PARKS THE WHEELS
ON A SET OF DRUMS.

HE ACTIVATES THE COMPUTER,

AND THOSE DRUMS
ARE READY TO ROLL.

THE GATE CLOSES,

AND THE ATV RIDES
ON THE SPINNING DRUMS,

REACHING HIGH SPEEDS
WITHOUT ACTUALLY MOVING.

IT'S THE PERFECT OPPORTUNITY

TO TEST THE GEARS, BRAKES,
AND EXHAUST SYSTEM.

THE OPERATOR THEN GIVES
THE BRAKES A WORKOUT

BECAUSE GOOD BRAKES ARE CRITICAL
IN BACKWOODS CONDITIONS.

AND IT PASSES.

FROM THE THREE-WHEEL MACHINE
OF THE '70s

TO THE FLASHY FOUR-WHEELER
OF TODAY,

THE ATV CONTINUES TO BE POPULAR
OFF THE BEATEN TRACK.

Narrator:
THOUSANDS OF YEARS AGO,

SCANDINAVIANS STRAPPED
WOODEN PLANKS ON THEIR FEET

TO GLIDE ACROSS SNOW.

THOSE FIRST SKIS ENABLED THEM
TO HUNT AND TRAP IN THE WINTER.

ESSENTIALLY, THEY SKIED TO LIVE.

TODAY, HOWEVER,
SOME OF US LIVE TO SKI,

AND CUTTING-EDGE EQUIPMENT
IS PART OF THE APPEAL.

IN THE PAST CENTURY,

DOWNHILL SKIS HAVE BECOME
SHORTER AND CURVIER

FOR PEAK PERFORMANCE.

THEY START
WITH A SQUARED-OFF ASH LOG.

A BAND SAW SLICES IT
INTO SEVERAL PLANKS.

ASH IS SUPPLE, BUT STRONG,

WHICH MAKES IT THE IDEAL WOOD
FOR THE CORE OF A SKI.

A SECOND BLADE THINS EACH PLANK
AT THE END

AND WIDENS IT
WHERE THE SKIER'S FOOT SITS.

SANDING ESTABLISHES
SUBTLE ANGLES ON THE EDGES.

THEN THE PLANKS
MOVE ALONG TO A MACHINE

THAT CUTS TEETH INTO THEM.

A RIDGED APPLICATOR
APPLIES EPOXY GLUE

TO THE TOOTHY ENDS
OF TWO BOARDS.

MACHINERY PRESSES THEM TOGETHER
FOR A TIGHT FIT.

AS THE GLUE DRIES,
IT CREATES A PERMANENT BOND.

THE TWO PLANKS ARE NOW
ONE SKI CORE.

IT STILL NEEDS SOME FINE-TUNING,

SO A ROBOT POSITIONS IT
ON A CONVEYOR,

WHICH TAKES IT
UNDER A SANDING BELT.

IT SMOOTHS
THE INTERLOCKED SECTION

AND GRINDS DEEP CUTS
INTO THE CORE.

THIS DEFINES THE PARABOLIC SHAPE

THAT HELPS SKIERS
CARVE THROUGH POWDER

IN SHORT, CLEAN TURNS.

THEY SILK-SCREEN GRAPHIC ARTWORK
AND LOGOS ONTO PLASTIC.

IT'S A BIT OF CORPORATE P.R.,

BUT THE FLASHY DESIGNS
CAN ALSO INSPIRE THE SKIER.

AN OPERATOR THEN BRUSHES
A RELEASE AGENT INTO A MOLD,

AS SHE PREPARES TO BUILD AND
SHAPE SEVERAL SKIS AT A TIME.

A LITTLE VACUUMING
GETS RID OF ANY DUST

THAT WOULD SULLY THE WORK.

THEN SHE TUCKS PIECES OF
GRAPHITE-FORTIFIED POLYETHYLENE

INTO THE MOLD.

IT WILL FORM THE BASE
OF THE SKIS.

SHE PLACES RUBBER ON THE ENDS

TO MINIMIZE VIBRATIONS
WHILE SKIING.

NEXT COME LAYERS
OF SPECIAL FIBERGLASS

THAT RUN THE LENGTH OF EACH SKI.

THIS MATERIAL
IS BOTH FLEXIBLE AND DURABLE.

IT'S BEEN FORMULATED
SPECIFICALLY FOR SKIS.

THE WEAVE VARIES
FROM LAYER TO LAYER,

DEPENDING ON THE TYPE OF SKI.

STRIPS OF RUBBER
REINFORCE THE BACK ENDS,

FOLLOWED BY PIECES
OF HEAVY-DUTY POLYURETHANE.

THE ASSEMBLER PLACES
THE CURVED WOODEN CORES

ON TOP OF THE SYNTHETIC LAYERS.

SHE INSTALLS MELAMINE
TO BUILD UP THE SKI'S SIDEWALLS.

THIS IMPROVES GRIPPING
IN HARD SNOW.

TO PROVIDE A FIRM BASE
FOR BINDINGS,

SHE COVERS THE NARROW WAIST
OF THE SKI WITH MORE FIBERGLASS,

FOLLOWED BY AN ALUMINUM PLATE

TO HOLD THE BINDING SCREWS
IN THE SKI.

MORE LAYERS
OF FIBERGLASS FOLLOW,

IMBUED WITH EPOXY GLUE,
WHICH IS ABOUT TO BE ACTIVATED.

ONCE THE COLORFUL TOP SHEET
IS SECURED,

THEY CLOSE THE MOLD.

INSIDE, THE TEMPERATURE REACHES
212 DEGREES FAHRENHEIT.

THIS CAUSES THE GLUE IMPREGNATED
IN THE FIBERGLASS TO LIQUEFY,

WHILE THE MOLD SQUEEZES
THE LAYERS

INTO THE SHAPE OF THE SKI.

WHEN THE GLUE HARDENS,

THE MANY LAYERS
BECOME ONE SOLID SKI.

IT'S A FUSION
OF SYNTHETIC, WOOD, AND METAL.

BUT IT'S STILL A BIT ROUGH
AROUND THE EDGES,

SO THIS ROBOT SMOOTHS
THE TIP AND TAIL OF THE SKI

AGAINST A SANDING BELT.

THE SKI THEN TRAVELS
OVER SEVERAL GRINDING WHEELS.

THIS CLEANS IT UP
AND CREATES ANGLES

FOR PRECISION CARVING
ON THE SLOPES.

THEN, LIKE A POWERFUL FIST,

THIS MACHINE TESTS
ITS FLEXIBILITY AND STRENGTH.

FINALLY,
A WORKER SCREWS A RAIL SYSTEM

TO THE WAIST OF THE SKI

TO MAKE IT EASIER FOR THE SKI
SHOP TO INSTALL BINDINGS.

THEN IT'S ALL DOWNHILL
FROM HERE,

WHICH, OF COURSE,
IS THE WHOLE IDEA.

Narrator: A LASER CUTTER
IS A HIGH-TECH MACHINE

THAT FACTORIES USE
TO CUT PARTS OUT OF METAL.

THE TRADITIONAL WAY TO CUT METAL
IS WITH A STAMPING PRESS,

A SLOWER PROCESS

THAT REQUIRES A SEPARATE TOOL
FOR EACH TYPE OF CUT.

A LASER CUTTER'S
COMPUTER-GUIDED BEAM

CAN PRECISION-CUT
VIRTUALLY ANY SHAPE.

A LASER CUTTER IS MADE UP
OF A LASER RESONATOR,

WHICH PRODUCES THE BEAM,

AND A MECHANICAL SYSTEM THAT
MOVES THE LASER OVER THE METAL

IN A COMPUTER-CONTROLLED
PATTERN.

TO BUILD THE LASER RESONATOR,

THEY MILL TWO BLOCKS
OF ALUMINUM.

EACH WILL HOLD A MIRROR ON
OPPOSITE ENDS OF THE RESONATOR.

THEY WILL REFLECT LIGHT BACK
AND FORTH INSIDE THE CHAMBER

TO FORM THE LASER BEAM.

ALL THE PARTS
GO INTO A CLEANING SOLUTION

BECAUSE ANY CONTAMINANTS WOULD
SHORTEN THE LASER'S LIFE.

ASSEMBLY TAKES PLACE
IN A CLEAN ROOM.

AFTER MOUNTING
THE ALUMINUM BLOCKS

ONTO SEPARATE ALUMINUM TUBES,

THEY SLIDE ONE TUBE
INSIDE THE OTHER.

THIS FORMS THE RESONATOR'S
MAIN STRUCTURE.

THEY INSTALL AN ELECTRICAL
CONNECTOR ON ONE OF THE BLOCKS.

THEN THEY MOUNT A MIRROR
ONTO EACH ALUMINUM BLOCK.

A GENERATOR
PUMPS ELECTRICAL ENERGY

INTO A PRESSURIZED MIXTURE
OF GASSES,

PRODUCING PARTICLES OF LIGHT
CALLED PHOTONS.

THE MIRRORS AT BOTH ENDS
OF THE RESONATOR

DIRECT THE PHOTONS
BACK AND FORTH,

CREATING THE LASER BEAM.

THEY NOW FILL THE RESONATOR
WITH THAT PRESSURIZED GAS.

IT'S A MIXTURE OF NITROGEN,
CARBON DIOXIDE, AND HELIUM.

FOR THE LASER BEAM TO CUT WELL,
IT HAS TO BE THE RIGHT SHAPE,

BUT THE BEAM IS INVISIBLE.

SO, TO SEE ITS SHAPE,

THEY HAVE TO SHOOT IT
INTO A PLASTIC CUBE

AND OBSERVE THE FORMATION
IT MAKES.

THEY GRADUALLY FINE-TUNE
THE BEAM'S SHAPE

BY ADJUSTING THE MIRRORS
ON THE RESONATOR.

THEY KEEP AT IT UNTIL THE LASER
CUTS A CONE FORMATION

IN THE PLASTIC.

ON TOP OF THE TUBES,

THEY INSTALL A SQUARE HOUSING
CONTAINING A SERIES OF MIRRORS,

WHICH FURTHER REFINE THE BEAM.

MEANWHILE, A ROBOTIC WELDER
FUSES SHEETS OF STEEL

TO CONSTRUCT
THE LASER RESONATOR'S HOUSING.

ON THE MAIN MACHINE,

THESE LARGE SUCTION CUPS
MOVE THE SHEET OF METAL

TO THE CUTTING AREA.

THE SHEET REMAINS STATIONARY,

WHILE A MOTION UNIT
MOVES THE LASER BEAM OVER IT.

A RACK-AND-PINION SYSTEM
PROPELS THE MOTION UNIT.

THE SYSTEM'S RACKS
MUST BE PERFECTLY ALIGNED

FOR THE MACHINE
TO CUT ACCURATELY,

SO A TECHNICIAN USES
PRECISION MEASURING EQUIPMENT

TO CHECK THE RACKS,

THEN VARIOUS TOOLS
TO MAKE ADJUSTMENTS.

ONCE THAT'S DONE,

THEY SET UP THE GUIDE RAILS
ON WHICH THE MOTION UNIT RIDES,

THEN MOUNT THE MOTION UNIT
ONTO THEM.

THEY BOLT THE MOTION UNIT
TO THE FRONT OF THE MACHINE

AND THE HOUSING THAT CONTAINS
THE LASER RESONATOR

TO THE BACK OF THE MACHINE.

THE RESONATOR
CREATES THE LASER BEAM.

MIRRORS DELIVER IT TO
THE MOTION UNIT'S CUTTING HEAD.

LENSES INSIDE THE HEAD
FOCUS THE BEAM

ON THE METAL THAT'S UNDERNEATH.

THEY RUN A SERIES OF TESTS

TO ENSURE THE MACHINE CUTS
WITH ULTIMATE PRECISION.

IT ALL BOILS DOWN TO WHETHER THE
MOTION UNIT MOVES ACCURATELY,

WHICH MEANS THE DRIVE-SYSTEM
RACKS MUST BE PERFECTLY ALIGNED.

AFTER TESTING,

THEY ENCLOSE THE CUTTING HEAD
WITH A SAFETY COVER

MADE OF SHEET METAL
AND PLEXIGLAS.

THE CUTTING HEAD'S COPPER-TIPPED
NOZZLE EMITS THE LASER BEAM,

WHILE A CURTAIN OF BRASS PINS
CONFINES THAT BEAM

TO A RESTRICTED AREA.

THE MOTION UNIT
MOVES IN THREE AXES,

ENABLING THE LASER BEAM
TO CUT DIFFERENT THICKNESSES

IN TWO DIMENSIONS.

A STAMPING MACHINE
LEAVES ROUGH EDGES

THAT WORKERS
MUST GRIND SMOOTH AFTERWARD,

BUT A LASER CUTTER
LEAVES A SMOOTH EDGE

THAT NEEDS NO FURTHER WORK.

THIS SAVES
ON TIME AND LABOR COST,

MAKING THIS TECHNOLOGY
A CUT ABOVE.

Narrator: IT WAS MICHELANGELO
WHO ONCE SAID,

"EVERY BLOCK OF STONE
HAS A STATUE INSIDE IT,

AND IT IS THE TASK
OF THE SCULPTOR TO DISCOVER IT."

CENTURIES LATER, SCULPTORS
STILL CHISEL BY THOSE WORDS,

USING TECHNIQUES SIMILAR
TO THOSE USED

BY THE BRILLIANT MICHELANGELO
SO MANY YEARS AGO.

A LIFELIKE IMAGE
EMERGES FROM STONE,

AND THAT WELL-CHISELED LOOK

IS THE RESULT
OF A LOT OF PLANNING AND POSING.

THE ARTIST FIRST MOLDS
THE SUBJECT IN CLAY,

WHICH ALLOWS HIM TO CAPTURE
HIS IMPRESSIONS QUICKLY.

HIS CLAY MODEL IS
THE SCULPTURE EQUIVALENT

OF A PAINTER'S SKETCH.

CLAY ALSO ALLOWS HIM
TO MAKE CHANGES

THAT WOULD BE IMPOSSIBLE
ONCE CARVED IN STONE.

WHEN THE PROTOTYPE IS COMPLETE,

THE ARTIST IS READY
TO CHOOSE A STONE.

THE SEARCH LEADS TO THIS QUARRY
IN THE HILLS OF NORTHERN ITALY,

WHERE THEY'VE BEEN EXTRACTING
WHITE CARRARA MARBLE

FOR CENTURIES.

A LONG SAW ON A TRACK
MAKES A HORIZONTAL INCISION

IN THE BOTTOM OF THE ROCK FACE.

ONCE THIS UNDERCUT IS COMPLETE,

THE OPERATION MOVES
TO THE TOP OF THE STONE.

A MACHINE PULLS
A LOOP OF DIAMOND CABLE

DOWN THROUGH THE ROCK
TO CUT THE BACK OF THE SLAB.

A CONSTANT SPRAY OF WATER COOLS
THE CABLE AND FLUSHES THE CUT.

WHEN THE TWO CUTS INTERSECT,

THIS MARBLE SLAB
IS READY TO BE EXTRACTED.

EQUIPMENT GENTLY TIPS IT
ONTO A SOFT PILE OF DIRT INTACT.

THE SUPERVISOR GIVES THE SLAB
A PRODUCTION NUMBER

AND DRAWS LINES TO INDICATE
HOW IT SHOULD BE CUT

TO PREPARE IT FOR SCULPTING.

ONCE CUT DOWN TO SIZE,
IT'S INTO THE STUDIO,

WHERE IT'S POSITIONED

BESIDE A PLASTER VERSION
OF A CLAY MODEL.

WITH CALIPERS,

AN ARTISAN MEASURES THE
PROPORTIONS OF THE PLASTER CAST

AND TRANSFERS THEM
TO THE MARBLE SLAB.

HIS PENCIL MARKS DEFINE
THE MAIN MASS AND OUTER LIMITS

OF THE FORM
THAT'S TO BE SCULPTED.

THIS ARTIST CHIPS AWAY
BIG CHUNKS OF THE STONE

TO GIVE THE ROUGH SIZE AND SHAPE
OF THE PLASTER MODEL.

THE PENCILED MEASUREMENTS ENSURE

THAT HE DOESN'T CHIP AWAY
TOO MUCH AND DESTROY THE SLAB.

ONCE THE GENERAL SHAPE
HAS BEEN ACHIEVED,

IT'S TIME FOR THE DETAIL WORK.

THE SCULPTOR MEASURES
THE PLASTER PROTOTYPE

WITH A TOOL CALLED
A POINTING MACHINE.

HE TRANSFERS THE MEASUREMENTS
TO THE MARBLE SCULPTURE,

ENSURING THAT ALL THE DETAILS
WILL BE TO THE CORRECT SCALE.

OF COURSE, POINTING TOOLS

CAN ONLY SHOW THE ARTIST
WHERETO CARVE --

THERE'S NO SUBSTITUTE FOR SKILL.

WITH A PNEUMATIC CHISEL,

THE ARTIST SHAPES
THE FOOT OF THE FIGURE.

NEXT, THE ARTIST SWITCHES
TO A SERIES OF RASPS AND FILES,

SO HE CAN SHAPE
THE SMALLER DETAILS

AND ELIMINATE ANY CHISEL MARKS.

THE FINGERS REQUIRE
A GENTLE APPROACH.

THEY'RE DELICATE
AND COULD BE BROKEN EASILY.

IT TAKES ABOUT FOUR MONTHS
FOR A SCULPTURE

TO GO FROM THE ROUGH FORM
TO THE FINISHED.

AND NOW FOR THE FINAL TOUCHES --

HE RUBS OXALIC ACID
INTO THE MARBLE.

THIS SEALS IT
AND PROTECTS IT FROM STAINS,

BUT ALSO GIVES THE SCULPTURE
A POLISHED LOOK.

THE RESULT IS
A TRANSLUCENT EFFECT

THAT GIVES THE SCULPTURE
VISUAL DEPTH.

LIKE GHOSTS IN THE ATTIC,

THERE'S AN INCREDIBLE ARRAY
OF PLASTER CASTS

ON THIS STUDIO'S UPPER FLOOR.

MANY OF THEM ARE REPLICAS
OF FAMOUS CLASSICAL WORKS.

THEY'RE ALL ON STANDBY
TO SERVE AS PROTOTYPES

FOR SCULPTURAL REPRODUCTIONS.

AND ONCE THESE IMAGES
ARE CARVED IN STONE,

THEY SHOULD LIVE ON FOREVER.

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