Original subtitles

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

CAPTIONS PAID FOR BY DISCOVERY COMMUNICATIONS

Narrator: RUG WEAVING IS A TRADITIONAL ART

PRACTICED BY THE NAVAJO,

AN INDIAN NATION LOCATED IN THE UNITED STATES

WHERE COLORADO, NEW MEXICO, UTAH, AND ARIZONA INTERSECT.

THEY ORIGINALLY WOVE BLANKETS AND CLOTHING.

THEN, IN THE EARLY 1800s,

THEY BEGAN WEAVING RUGS FOR SALE.

WHILE MANY WEAVERS CREATE CONTEMPORARY DESIGNS,

NAVAJO RUGS TYPICALLY FEATURE BOLD GEOMETRIC PATTERNS.

THE WOOL-PREPARATION AND WEAVING TECHNIQUES

DEVELOPED BY THE WEAVERS' ANCESTORS

HAVE BEEN PROUDLY PASSED DOWN FROM GENERATION TO GENERATION.

EVERYTHING IN A NAVAJO RUG COMES FROM NATURE,

STARTING WITH FLEECE -- RAW WOOL SHEARED FROM A SHEEP.

WORKING A HANDFUL AT A TIME,

THE WEAVER REMOVES THE MATS AND TANGLES

AND PLACES THE WOOL ON CARDERS --

WOODEN PADDLES WITH METAL TEETH.

BY PULLING ONE CARDER AGAINST THE OTHER,

SHE STRAIGHTENS THE WOOL FIBERS,

LINING THEM UP IN THE SAME DIRECTION.

THIS PREPARES THEM TO BE SPUN

INTO ONE CONTINUOUS STRAND OF YARN.

AFTER THREE OR FOUR PULLS, SHE FLIPS THE CARDERS

TO STRAIGHTEN THE FIBERS ON THE UNDERSIDE.

THEN SHE ROLLS UP THE FLEECE

AND ADDS IT TO THE OTHER ROLLS IN THE SPINNING PILE.

SHE SPINS THE FLEECE ONE ROLL AT A TIME

WITH THE TRADITIONAL SPINDLE THAT SHE LAYS AGAINST HER THIGH

AND ROTATES TOWARDS HER WITH ONE HAND.

THIS MOVEMENT TWISTS THE CARDED ROLL OF FLEECE

INTO A STRAND.

WHEN SHE REACHES THE END OF THE ROLL,

SHE CONNECTS ANOTHER AND RESUMES SPINNING

AND KEEPS REPEATING THIS PROCESS

UNTIL SHE'S PRODUCED ONE LONG, CONTINUOUS STRAND

FROM ABOUT 50 ROLLS.

THEN SHE RESPINS THE STRAND

TO THIN IT OUT TO THE FINAL WEAVING SIZE.

WHEN SHE'S DONE,

SHE CHECKS THE ENTIRE LENGTH OF THE STRAND,

PULLING ON THE THICKER AREAS TO THIN THEM OUT

SO THAT THE ENTIRE STRAND IS A CONSISTENT SIZE

FROM ONE END TO THE OTHER.

HERE YOU CAN SEE THE DIFFERENCE IN THICKNESS

BETWEEN THE FIRST SPINNING AND THE SECOND.

TO INFUSE HER WOOL WITH COLOR, SHE PREPARES NATURAL DYES --

SUNFLOWERS FOR YELLOW, WALNUTS FOR TAN AND BROWN HUES,

AND CACTUS BUGS FOR BRIGHT RED.

SHE PUTS THE BUGS IN A STOCKING

AND SOAKS THEM IN WARM WATER OVERNIGHT.

THEN, SHE SUBMERGES THEM IN A POT OF WATER,

POURS IN THE PRESOAK WATER, AS WELL,

AND SIMMERS FOR 45 MINUTES TO AN HOUR AND A HALF,

DEPENDING ON HOW VIBRANT SHE WANTS THE RED DYE TO BE.

MEANWHILE, SHE SOAKS THE YARN IN WARM WATER

FOR AT LEAST A HALF-HOUR

TO OPEN UP THE FIBERS SO THAT THEY'LL ABSORB THE DYE.

AFTER WRINGING OUT THE YARN,

SHE IMMERSES IT IN THE POT OF HOT DYE

AND SIMMERS FOR AT LEAST 45 MINUTES,

DEPENDING ON THE AMOUNT OF BUGS, WATER, AND WOOL.

SHE STIRS FREQUENTLY TO ENSURE IT DYES EVENLY THROUGHOUT.

IT'S THE SAME PROCESS WITH PLANT DYES,

EXCEPT THAT SHE DOESN'T PRESOAK THE PLANTS OVERNIGHT

BEFORE BOILING THEM IN WATER.

THE SHADE OF COLOR DEPENDS ON THE RATIO OF PLANTS TO WATER

DURING DYE PREPARATION,

THEN OF DYE TO THE QUANTITY OF WOOL.

PROPORTIONALLY MORE PLANTS THAN DYE,

THE DARKER THE SHADE.

PROPORTIONATELY LESS, THE LIGHTER THE SHADE.

SUNFLOWERS AND WALNUTS ARE JUST TWO OF MANY PLANTS

THE NAVAJO HAVE TRADITIONALLY USED

TO PRODUCE A RAINBOW OF DYES FOR THEIR TEXTILES.

WITH HER WOOL NOW SPUN AND DYED,

THE WEAVER PICKS UP HER WEAVING COMB AND BEGINS.

NAVAJO ANCESTORS USED TREES AS THE SIDES OF THEIR LOOMS.

TODAY'S WEAVERS MAKE LOOMS FROM LUMBER OR METAL PIPES.

AFTER STRINGING TIGHT, VERTICAL STRANDS OF WOOL

CALLED THE WARP,

SHE USES A FLAT, HANDMADE STICK CALLED A BATTEN

TO PRY A WIDE ENOUGH OPENING

THROUGH WHICH TO PASS HER HAND WITH THE COLORED WEAVING WOOL.

SHE WEAVES HORIZONTALLY IN AND OUT BETWEEN THE WARP

FIRST IN ONE DIRECTION, THEN IN THE OTHER.

THEN, SHE PACKS DOWN THE WOOL TIGHTLY WITH HER COMB

SO THAT THE WARP DOESN'T SHOW.

SHE MOSTLY EYEBALLS THE EMERGING UNIQUE PATTERN,

OCCASIONALLY COUNTING VERTICAL STRANDS

TO CALCULATE THE SYMMETRY,

A SIGNATURE FEATURE OF TRADITIONAL NAVAJO RUGS.

Narrator: CRUDE OIL, ALSO CALLED PETROLEUM,

IS UNPROCESSED OIL FOUND DEEP IN THE GROUND.

IT FORMS NATURALLY

FROM DECOMPOSED, PREHISTORIC PLANTS AND ANIMALS.

THE COLOR CAN RANGE FROM CLEAR TO BLACK,

THE CONSISTENCY FROM VERY WATERY TO VERY THICK.

OIL COMPANIES DRILL WELLS DEEP INTO THE GROUND

THEN INSTALL PUMPING UNITS TO DRAW UP THE FLUID

THAT CONTAINS CRUDE OIL AND SALTY WATER.

THIS OIL FIELD IN CENTRAL CALIFORNIA

HAS 6,000 PRODUCING WELLS.

THE PUMPING UNITS CAN RUN 24 HOURS A DAY.

HOWEVER, A SENSOR TRIGGERS THEM TO PUMP

ONLY WHEN THE FLUID FLOW STOPS.

HERE'S WHAT GOES ON INSIDE THE WELL.

WITH EACH DOWNSTROKE,

THE PUMPING UNIT PUSHES A STEEL ROD

DOWN THE STEEL TUBE LINING THE WELL.

WITH EACH UPSTROKE, THE ROD RISES,

AND THE PRESSURE DIFFERENCE

BETWEEN THE FLUID ON THE OUTSIDE AND FLUID ON THE INSIDE

OPENS A BALL-SHAPED VALVE PLUGGING THE BOTTOM,

LETTING THE FLUID FLOW UP THE TUBE.

ANOTHER VALVE AT THE TOP

RELEASES THE FLUID OUT OF THE WELL.

TO DRILL A NEW WELL,

WORKERS FIRST ERECT A DRILLING RIG AT THE SITE

THEN HOIST A GIANT PIPE WITH A DRILL BIT ON THE END.

THEY FEED THIS DRILL PIPE

THROUGH THE CENTER OF A SPINNING DISK

CALLED A ROTARY TABLE.

AS THE TABLE TURNS, THE DRILL PIPE TURNS,

ITS WEIGHT BEARING DOWN

AND BORING A HOLE THROUGH THE GROUND.

ONCE THE DRILL PIPE DESCENDS ITS FULL 30-FOOT LENGTH,

THEY CONNECT ANOTHER PIPE

THEN KEEP REPEATING WITH SUBSEQUENT DRILL PIPES

UNTIL THEY BORE INTO THE RESERVOIR CONTAINING FLUID.

THROUGHOUT THE DRILLING PROCESS,

THEY PUMP A MUD MIXTURE DOWN THE DRILL PIPE.

IT COMES OUT THE DRILL BIT AT THE END,

HITS THE BOTTOM OF THE HOLE, THEN BACKS UP TO THE TOP,

BRINGING THE DRILLED-OUT ROCK WITH IT.

AFTER LINING THE WELL WITH A STEEL TUBE

TO KEEP THE WALLS FROM COLLAPSING INWARD,

THEY MOUNT THE PUMPING UNIT

AND INSTALL THE VALVES WE SAW IN THE MODEL.

THE PUMPING UNIT PUSHES THE ROD UP AND DOWN

THROUGH THE WELL HEAD AT THE SURFACE.

AS A SAFETY MEASURE,

WORKERS TAKE READINGS TO CHECK THE AIR

FOR ANY HAZARDOUS UNDERGROUND GASES

THAT MAY BE EXITING THE WELL.

ONCE THEY DETERMINE THE AREA IS SAFE,

THEY DRAW A SAMPLE OF FLUID

TO TEST THE WELL'S WATER-TO-OIL RATIO.

THE TYPICAL RATIO IS 90% WATER TO 10% OIL.

THE FLUID FROM EACH WELL EXITS VIA A PIPE,

AND THE PIPES FROM ALL THE WELLS

FEED A MAIN LINE LEADING TO A GAS-REMOVAL VESSEL.

THE FLUID CONTAINS CARBON DIOXIDE,

HYDROGEN SULFIDE, AND NATURAL GAS.

THEY NATURALLY RISE TO THE TOP OF THE VESSEL

AND EXIT VIA A PIPE

WHICH RUNS TO THE COMPANY'S GAS-TREATMENT PLANT.

THERE, EQUIPMENT REMOVES AND TREATS THE HYDROGEN SULFIDE,

TRANSFORMING IT INTO SULFUR,

WHICH A LOCAL FARM BUYS TO USE AS FERTILIZER.

THE NATURAL GAS AND CO2, MEANWHILE,

ARE PIPED TO ANOTHER AREA,

WHERE THEY FUEL THE COMPANY'S STEAM GENERATOR.

THE GENERATOR BOILS THE WATER EXTRACTED FROM THE FLUID

TO PRODUCE STEAM.

THE COMPANY INJECTS STEAM INTO THE WELLS

TO HEAT THE FLUID,

THINNING IT SO THAT IT FLOWS FASTER.

ONCE GASLESS, THE FLUID IS PIPED

TO THE TREATMENT PLANT THAT EXTRACTS THE SALTY WATER.

IN THIS BIG TANK,

APPROPRIATELY CALLED THE FREE-WATER KNOCKOUT,

THE SEPARATION OF OIL AND WATER HAPPENS NATURALLY,

THE OIL FLOATING TO THE TOP.

HOWEVER, TO HASTEN THAT NATURAL PROCESS,

THEY ADD A CHEMICAL CALLED AN EMULSION BREAKER.

THE EXTRACTED WATER EXITS

VIA A PIPE LEADING TO THE STEAM GENERATOR.

THE OIL GOES TO A CLARIFICATION TANK

IN WHICH A CHEMICAL PROCESS FILTERS OUT SAND,

WHICH THE FLUID BROUGHT UP FROM THE RESERVOIR.

THE EMULSION BREAKER ADDED IN THE PREVIOUS TANK

CONTINUES TO EXTRACT WATER.

BY THE END, WHEN THE RATIO IS 98% OIL TO 2% WATER OR BETTER,

THE CRUDE OIL IS READY TO SELL.

BUILT-IN METERS GIVE

INSTANTANEOUS WATER-CONTENT READINGS.

AS AN ADDITIONAL QUALITY-CONTROL MEASURE, HOWEVER,

THE COMPANY ALSO DRAWS SAMPLES FOR ANALYSIS IN ITS ONSITE LAB.

IN FACT, THERE'S TESTING THROUGHOUT PRODUCTION

TO ENSURE SUFFICIENT WATER IS BEING EXTRACTED

AT EACH PHASE OF PROCESSING.

REFINERIES BUY CRUDE OIL AS A RAW MATERIAL

FOR PRODUCING GASOLINE, ASPHALT, PLASTICS,

AND MANY OTHER PRODUCTS.

Narrator: INVENTED IN THE EARLY 19th CENTURY

BY A SCOTTISH SCIENTIST STUDYING LIGHT,

THE KALEIDOSCOPE CAN STILL COMPETE

WHEN IT COMES TO PRODUCING STUNNING VISUAL EFFECTS.

PEER INSIDE AND WITNESS DAZZLING GEOMETRIC IMAGES

PRODUCED AS MIRRORS MULTIPLY OBJECTS.

THE IMAGES ARE SPECTACULAR AND FLEETING,

EACH ONE LASTING JUST SECONDS BEFORE THE NEXT APPEARS.

MANY YEARS AFTER ITS INVENTION,

THE KALEIDOSCOPE IS STILL WORTH LOOKING INTO.

TO MAKE A KALEIDOSCOPE, THIS CRAFTSMAN STARTS

WITH A MIRROR SHEET THAT HAS ADHESIVE BACKING.

HE SCORES IT TO CREATE LONG AND NARROW RECTANGLES

AND GENTLY BREAKS IT ALONG THE SCORED LINES.

THE MIRROR'S REFLECTIVE COATING

IS ON THE FRONT INSTEAD OF THE UNDERSIDE.

A MIRROR LIKE THIS PRODUCES SHARPER REFLECTIONS

THAN A REGULAR HOUSEHOLD MIRROR.

HE SLICES THE ADHESIVE BACKING

TO SEPARATE THE MIRRORED RECTANGLES.

HE SNAPS OFF THE SCORED ENDS, CREATING PERFECTLY LINEAR EDGES.

NEXT, HE PEELS BACKING FROM A STRIP OF BLACK-OUT FELT PAPER

AND WRAPS IT AROUND A GLASS RECTANGLE.

THIS FELT-WRAPPED GLASS WILL BE THE THIRD WALL

OF A TWO-MIRROR SYSTEM -- ONE WITH A TRIANGULAR CONFIGURATION.

HE REMOVES THE ADHESIVE FILM FROM THE MIRRORS

THEN BUILDS THE TRIANGLES

WITH THE MIRRORS' REFLECTIVE SURFACES

FACING INWARD TOWARDS THE FELT-WRAPPED RECTANGLE.

THIS ARRANGEMENT WILL REFLECT OBJECTS

TO CREATE A CIRCULAR IMAGE KNOWN AS A MANDALA.

HE AIMS THE MIRROR SYSTEM AT A LIGHT BOX

WITH A TWO-LINE DRAWING IN IT.

ONE LINE IS CURVED, AND THE OTHER IS STRAIGHT.

PEERING INTO IT,

HE ADJUSTS THE ALIGNMENT OF THE MIRRORS

UNTIL THE LINES MORPH INTO A FIVE-POINT STAR.

THIS MEANS THE CORNERS OF THE MIRROR TRIANGLE

ARE PRECISELY 36 DEGREES

AND IT IS MULTIPLYING IMAGES CORRECTLY.

HE HOT-GLUES THE MIRRORS TO THE OPAQUE PART

AND APPLIES METAL TAPE TO THE TOP SEAM

TO COMPLETE THE KALEIDOSCOPE MIRROR SYSTEM.

OVER IN THE ART DEPARTMENT,

THE ARTIST ASSEMBLES DECORATIVE OBJECTS

AGAINST A BLACK BACKGROUND IN AN ACRYLIC CELL.

WITH EVERY PLACEMENT,

SHE CHECKS THE EFFECT THROUGH THE TRIANGULAR MIRROR SYSTEM.

SHE GLUES DICHROIC GLASS ONTO THE BACKDROP.

IT'S A KIND OF GLASS

THAT'S BEEN TREATED WITH METAL OXIDES,

AND IT APPEARS TO HAVE DIFFERENT HUES.

OTHER OBJECTS INCLUDE JEWELRY PARTS, COLORED WIRE,

BUTTONS, AND EVEN PAPER CLIPS.

SHE FOLLOWS NO SPECIFIC DESIGN BUT WORKS FREESTYLE.

WHILE SHE GLUES SOME DOWN,

SHE LEAVES OTHERS LOOSE TO SIMPLY TUMBLE AROUND.

A SPRINKLE OF TINY BEADS COMPLETES THE GROUPING.

AS THE MIRROR SYSTEM MULTIPLIES THESE OBJECTS,

THEY WILL CREATE THE MANDALAS.

THESE ARE PHOTOGRAPHS OF ACTUAL MANDALAS,

AND THEY'LL BE USED TO DECORATE THE OUTSIDE OF THE KALEIDOSCOPE.

THE OTHER MEMBER OF THE TEAM

NOW APPLIES AN ACRYLIC ADHESIVE TO THE RIM OF THE CELL

AND PRESSES A CLEAR LID ONTO IT.

THE LID FUSES TO THE CELL BODY.

BUT IT'S NOT YET COMPLETELY SEALED.

THERE'S A TINY HOLE IN THE SIDE OF THE CELL

THROUGH WHICH HE NOW DISPENSES HEAVY MINERAL OIL.

SUBMERGED IN MINERAL OIL,

THE OBJECTS WILL FLOAT AND MOVE THROUGH THE CELL

FOR GREATER EFFECT.

HE PLUGS THE HOLE WITH AN ACRYLIC ADHESIVE AND SCREW.

HE IS NOW READY

TO ASSEMBLE ALL THE PARTS OF THE KALEIDOSCOPE.

HE SLIDES THE MIRROR SYSTEM

INTO A HEAVY CARDBOARD TUBE DECORATED BY THE MANDALA PHOTOS.

HE CUSHIONS THE MIRROR SYSTEM WITH FOAM,

AND THIS STABILIZES IT.

HE INSTALLS A METAL EYEPIECE AND GLASS LENS

ON ONE END OF THE KALEIDOSCOPE TUBE.

HE SLIDES THE OBJECT CELL

INTO A PROTECTIVE METAL CAGE THAT ROTATES.

HE PLACES A TRANSPARENT GLASS DISK

OVER THE CELL.

HE APPLIES ADHESIVE TO THE CAGE AND INSERTS THE ASSEMBLY

INTO THE OTHER END OF THE KALEIDOSCOPE TUBE.

THIS KALEIDOSCOPE IS NOW READY FOR A VIEWING.

LIGHT PASSES THROUGH THE OBJECT CELL,

ILLUMINATING THE TRINKETS.

REFLECTIONS BOUNCE OFF THE MIRRORS TO CREATE

ONE SPECTACULAR ILLUSION AFTER ANOTHER.

TWO CENTURIES AFTER ITS INVENTION,

THE VIEW THROUGH THE KALEIDOSCOPE

STILL FASCINATES.

Narrator: THE ANCIENT MAYANS HAMMERED SEASHELLS INTO THEIR JAWS

TO REPLACE MISSING TEETH.

THOSE SEASHELLS WERE LIKELY THE FIRST DENTAL IMPLANTS.

TODAY, TITANIUM TOOTH IMPLANTS FILL THE GAPS NICELY,

AND, USUALLY, THE PATIENT'S JAWBONE

WILL ACTUALLY BOND TO THEM.

IN THE MIDDLE OF THE 20th CENTURY,

IT WAS DISCOVERED

THAT TITANIUM IS A METAL THAT BONDS WITH BONE.

IT REVOLUTIONIZED RESTORATIVE DENTISTRY,

MAKING ENDURING TOOTH IMPLANTS POSSIBLE.

TO MAKE THESE IMPLANTS,

THEY START WITH A SOLID TITANIUM ROD.

THIS 13-FOOT ROD WILL BE USED TO MAKE MORE THAN 200 IMPLANTS.

THE TECHNICIAN INSERTS THE ROD IN A LONG TUBULAR DEVICE

THAT KEEPS IT STRAIGHT AS IT FEEDS TO A LATHE SYSTEM.

THE TITANIUM ROD SPINS

AS COMPUTERIZED TOOLS SLIM IT DOWN

AND CUT THREADS INTO IT.

THESE THREADS WILL HELP ANCHOR THE IMPLANTS

IN THE PATIENT'S JAW.

THE LATHE PUSHES THE ROD OUT

AND THEN PULLS IT BACK IN REPEATEDLY

TO FACILITATE THE SHAPING PROCESS.

A TOOL NOW GRIPS THE IMPLANT WHILE ANOTHER CUTS IT TO LENGTH.

THEN, A COMPUTERIZED DRILL HOLLOWS OUT THE IMPLANT

AND CARVES THREADS INSIDE FOR ATTACHING THE CERAMIC TOOTH.

IN MINUTES, A SOLID, METAL CYLINDER BECOMES

A HOLLOWED AND THREADED IMPLANT.

A ROBOT NOW RETRIEVES THE IMPLANT

FROM THE CLUTCHES OF ANOTHER ONE.

IT TRANSFERS IT TO A CLEANING STATION

AND THEN OVER TO WHAT'S KNOWN AS A VISION MEASURING SYSTEM.

HERE, A CAMERA TAKES PICTURES OF THE IMPLANT FROM ALL ANGLES

AND SENDS THE IMAGES TO A COMPUTER FOR ANALYSIS.

THE COMPUTER CONFIRMS

THE DIMENSIONS ARE EXACTLY RIGHT.

THEN, THE ROBOT COLLECTS THE IMPLANT

AND PLACES IT INTO A SLOT IN A TRAY.

ONCE FILLED WITH IMPLANTS,

A TECHNICIAN SCREWS A MESH LID ON THE TRAY

AND SLIDES IT INTO A METAL BASKET.

THE BASKET POSITIONS THEM FOR CLEANING

IN A SPECIAL WASHING MACHINE KNOWN AS A VAPOR DEGREASER.

INSIDE, SOLVENT VAPORS ENVELOP THE PARTS

TO CLEAN OFF RESIDUAL LUBRICANT OILS

USED DURING THE CUTTING PROCESS.

A ROBOT TRANSFERS AN IMPLANT TO A HOLDING DEVICE.

THE DEVICE SECURES THE IMPLANT

FOR THE NEXT ROBOT TO PRESS A PLASTIC COLLAR ONTO IT.

THIS COLLAR IS TEMPORARY.

IT WILL SERVE AS A MASK

TO PROTECT THE OUTSIDE OF THE IMPLANT

AS THE TOP UNDERGOES A PROCESS OF COLORIZATION.

A ROBOT PLACES THE IMPLANT UPSIDE DOWN IN A MILD ACID.

THEY APPLY AN ELECTRICAL CHARGE.

DIFFERENT COLORS WILL APPEAR AT DIFFERENT VOLTAGES

TO COLOR-CODE THE PART AND INDICATE THE DIAMETER.

THE PROCESS IS CALLED ANODIZING.

A ROBOT NOW PULLS OFF THE MASKING COLLAR.

IT TRANSFERS THE IMPLANTS TO ANOTHER TRAY

AND SCREWS THEM ONTO IT.

THIS KEEPS THEM FROM FALLING OFF

AS MACHINERY TURNS THE TRAY UPSIDE DOWN

TO IMMERSE THE IMPLANTS IN ACID

AND ANODIZE THE EXTERIOR.

THIS TIME, THE ANODIZING SERVES ANOTHER PURPOSE.

IT CHANGES THE SURFACE TO MAKE IT MORE POROUS.

THIS WILL IMPROVE THE BONDING OF THE PATIENT'S JAWBONE

TO THE IMPLANT.

THE IMPLANT SPARKLES IN THE SOLUTION

AS IT UNDERGOES A TRANSFORMATION.

HERE'S THE NEW POROUS SURFACE MAGNIFIED BY A MICROSCOPE.

A ROBOT TRANSFERS THE DENTAL IMPLANTS

TO ANOTHER TRAY.

THEY'RE NOW READY FOR A FINAL CLEANING.

A TECHNICIAN PUTS A LID ON THE TRAY

AND LOWERS IT INTO A TANK FULL OF HOT, PURIFIED WATER.

A GENERATOR SENDS HIGH-FREQUENCY SOUND WAVES

INTO THE WATER,

CREATING BUBBLES AND WAVES THAT GENTLY SCRUB THE IMPLANTS.

AFTER STERILIZATION, THESE TITANIUM DENTAL IMPLANTS

ARE READY TO TAKE ROOT IN HUMAN JAWS.

THE CLINICIAN SCREWS THE IMPLANT INTO THE PATIENT'S JAWBONE

AND THEN SECURES A MADE-TO-MATCH CERAMIC TOOTH TO IT.

OVER TIME, BONE WILL FUSE TO THIS ARTIFICIAL TOOTH,

PROVIDING A LONG-LASTING TOOTH REPLACEMENT

AND GIVING THE PATIENT A REASON TO SMILE.

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