All language subtitles for How Its Made S22E05 Carbon Fiber 1080p AMZN WEB-DL DDP2 0 H 264-SLAG_track4_[eng]

--Captions by VITAC--
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Narrator: CARBON FIBER
IS AN ENGINEER'S DREAM --

LIGHTWEIGHT
YET INCREDIBLY STRONG.

IT'S A STRING WITH THOUSANDS
OF PARALLEL FILAMENTS.

MULTIPLE STRINGS
CAN BE TWISTED INTO YARNS,

WOVEN INTO FABRICS,
OR MOLDED WITH RESIN

TO PRODUCE MATERIALS
CALLED CARBON-FIBER COMPOSITES.

CARBON FIBER IS FIVE TIMES
STRONGER THAN STEEL

YET LESS THAN HALF THE WEIGHT.

TO MAKE IT,
THEY TAKE A PLASTIC FIBER

COMPOSED OF THOUSANDS
OF FILAMENTS

FAR THINNER THAN HUMAN HAIR.

THEY THEN CHEMICALLY ALTER IT

TO FORM A PERFECT CHAIN
OF CARBON ATOMS

FOR THE FINAL PRODUCT.

THIS MAMMOTH MACHINE LINES UP
DOZENS OF THOSE FIBERS

WHICH THEN TRAVEL
THROUGH AN OXIDATION OVEN

FOR A COUPLE OF MINUTES.

THE OVEN TEMPERATURE,
ABOUT 480 DEGREES FAHRENHEIT,

PROMPTS THE FIBERS TO PICK UP
OXYGEN MOLECULES FROM THE AIR.

THIS REARRANGES
THE FIBERS' ATOMIC STRUCTURE,

RENDERING THEM RESISTANT
TO HIGH HEAT.

AS THE FIBERS OXIDIZE,

THEY CHANGE COLOR
TO EVENTUALLY TURN BLACK.

THEY'RE NOW PRIMED FOR THE NEXT
PROCESS, CARBONIZATION.

FURNACES HEAT THE FIBERS
IN AN OXYGEN-FREE GAS MIXTURE.

THIS EXPELS THE NON-CARBON ATOMS

AND TRANSFORMS
THE REMAINING CARBON ATOMS

INTO TIGHTLY BONDED CRYSTALS

RUNNING PARALLEL
TO THE LENGTH OF THE FIBER.

THIS GIVES THE FIBER
ITS STRENGTH.

THE EXITING FIBERS TRAVEL

THROUGH A BATH
OF ELECTRICALLY CHARGED WATER

THAT ETCHES THE FIBERS' SURFACE
SO THEY'LL BETTER ABSORB RESIN.

THE NEXT STATION APPLIES A LIGHT
PRELIMINARY COAT OF RESIN.

THIS WILL STRENGTHEN
THE FIBERS' CHEMICAL BOND

TO THE MOLDING RESIN.

A SPOOLING MACHINE
WINDS EACH FIBER,

NOW REFERRED TO
AS A CARBON-FIBER TOW,

ONTO A BOBBIN

WHICH BUYERS EITHER WEAVE
INTO A CARBON-FIBER FABRIC

OR MIX WITH RESIN
TO MOLD A PRODUCT.

ANOTHER FORM OF CARBON FIBER
IS PREPREG --

SHEETS OF RESIN-IMPREGNATED
CARBON FIBER READY FOR MOLDING.

IT'S LIKE READY-TO-BAKE
CAKE MIX.

THE RESIN IS A FORMULA OF EPOXY

AND VARIOUS POWDERED HARDENERS
AND ACCELERATORS.

WORKERS POUR THE RESIN
INTO A FILMING MACHINE

WHICH SPREADS IT
IN A THIN, WET LAYER ONTO PAPER.

THE PAPER IS PRE-TREATED
WITH A RELEASE AGENT

TO PREVENT THE FINAL PRODUCT
FROM STICKING,

LIKE SPRAYING A BAKING PAN
WITH NON-STICK COATING.

ANOTHER MACHINE, MEANWHILE,

GROUPS 200 TO 300
CARBON-FIBER TOWS

INTO A GIANT BAND OF FIBERS
CALLED A WEB.

THE WIDTH AND THICKNESS
OF THE WEB

DETERMINES THE WIDTH AND
THICKNESS OF THE PREPREG SHEET.

WORKERS MOUNT TWO ROLLS
OF RESIN-COATED PAPER

ONTO THE RESIN-IMPREGNATION
MACHINE.

A HEATING ELEMENT
WARMS UP THE WEB AS IT ENTERS

TO FACILITATE RESIN ABSORPTION.

THEN THE HEATED CARBON-FIBER WEB

IS SANDWICHED BETWEEN TWO SHEETS
OF RESIN-COATED PAPER.

HIGH-PRESSURE HEATED ROLLERS
THIN OUT THE RESIN

SO IT PENETRATES THE MILLIONS
OF CARBON-FIBER FILAMENTS.

COOLING PLATES THEN TURN
THE LIQUID RESIN TO GEL

SO THAT THE NEXT STATION
CAN REMOVE THE PAPER,

WHICH PULLS OFF EASILY
THANKS TO THE RELEASE AGENT.

THE NEXT STATION COVERS THE TOP
OF THE PREPREG SHEET

WITH POLYESTER FILM.

THIS PREVENTS THE PREPREG SHEET

FROM STICKING TO ITSELF
AT THE END OF THE LINE

WHEN IT'S WOUND INTO A ROLL
LIKE A FRUIT ROLL-UP.

IN THE FACTORY'S LAB,

TECHNICIANS RUN QUALITY CONTROL
TESTS ON PREPREG SAMPLES.

FIRST THEY WEIGH THE SAMPLE.

THEN THEY WASH OFF THE RESIN
WITH CHEMICALS

AND WEIGH THE SAMPLE AGAIN.

THIS VERIFIES WHETHER THE RATIO
OF CARBON FIBER TO RESIN

IS CORRECT.

THE LAB ALSO ANALYZES
SAMPLES OF COMPOSITE --

CARBON-FIBER REINFORCED RESIN --

IN THIS TENSILE STRENGTH TEST.

THE COMPUTER MEASURES HOW MUCH
STRAIN THE SAMPLE WITHSTANDS

BEFORE BREAKING.

SUCH TESTING ENSURES
THE CARBON FIBER

DELIVERS OPTIMUM STRENGTH,
DURABILITY, AND HEAT RESISTANCE,

WHETHER IT'S USED
TO MAKE AN AUTO PART,

A WIND-TURBINE BLADE,
OR A GOLF CLUB.

Narrator: ANTIQUE GILDED FRAMES
HAVE SPENT MANY YEARS

PROTECTING PAINTINGS
AND ENHANCING THEM.

BUT OVER TIME, GRIME CAN OBSCURE
THE GOLD-LEAF SHINE

AND THE FRAME CAN SUFFER DAMAGE
AND DETERIORATION.

BUT THESE FRAMES
ARE HIGHLY COLLECTIBLE,

AND RESTORING THEM
PRESERVES THEIR VALUE.

WITH ELABORATE
CAST ORNAMENTATION

AND GOLD-LEAF WORK,

THIS 19th-CENTURY GILDED FRAME
IS ITSELF A WORK OF ART.

BUT IT'S IN NEED OF RENEWAL.

RESTORATION WORK
DONE MANY YEARS AGO HAS CRACKED,

AND GOLD LEAF IS DETERIORATING
ELSEWHERE ON THE FRAME.

THE TECHNICIAN CAREFULLY

PRIES THE CRACKED ACORN CASTING
LOOSE

AND REMOVES IT FROM THE FRAME.

HE'LL MAKE A NEW ONE
FROM SCRATCH.

IT WILL NEED TO COMPLETELY FILL
THE EMPTY SPACE

AND LOOK EXACTLY LIKE THE OTHERS
ON THE FRAME.

HE STARTS BY MAKING A MOLD
WITH DENTAL IMPRESSION RUBBER.

HE KNEADS THE TWO PUTTY-LIKE
COMPONENTS TOGETHER

TO ACTIVATE THE INGREDIENTS.

WHEN THE COLOR'S UNIFORM
AND THERE ARE NO STREAKS,

THE RUBBER IS READY FOR MOLDING.

HE MUST ACT QUICKLY

BECAUSE IN JUST THREE MINUTES
THE RUBBER WILL CURE.

HE PRESSES IT AROUND
THE ACORN ORNAMENT ON THE FRAME

TO CAPTURE THE DETAIL.

HE NOW HAS A MOLD HE CAN USE

TO CAST A NEW ORNAMENT
FOR THE FRAME.

HE'LL USE THIS WOOD EPOXY
FOR THAT.

LIKE THE DENTAL IMPRESSION
RUBBER,

IT MUST BE MIXED THOROUGHLY
TO ACTIVATE IT.

HE PRESSES THE EPOXY
INTO THE CONTOURS OF THE MOLD,

PUSHING IT FROM ONE END
TO THE OTHER.

THIS WILL PREVENT AIR FROM
BECOMING TRAPPED IN THE CASTING

AND COMPROMISING ITS INTEGRITY.

AFTER A 10-MINUTE CURE,
THE EPOXY CASTING IS READY,

AND HE EXTRACTS IT
FROM THE MOLD.

HE EXAMINES THE DETAIL

AND CONFIRMS THAT IT IS
AN EXACT REPRODUCTION.

THEN, USING A SCOOP CHISEL,

HE SCULPTS THE EDGES
AND THE INSIDE OF THE CASTING

TO SHAPE IT
TO THE PICTURE FRAME.

IN THIS COMPARISON SHOT,

THE SHAPED PART
IS THE ONE ON THE LEFT.

HE PLACES THE CAST EPOXY
ORNAMENT ON THE FRAME

AND NAILS IT DOWN.

THE EPOXY IS STILL SOFT ENOUGH

THAT HE CAN DRIVE THE NAIL
INTO IT WITHOUT BREAKING IT.

HE FILLS THE GAP BETWEEN
THE CASTING AND THE FRAME

WITH MORE EPOXY,

PROVIDING A SEAMLESS TRANSITION
FROM NEW TO OLD.

AFTER THE EPOXY SOLIDIFIES,

HE BRUSHES SOMETHING CALLED BOLE
ONTO IT.

BOLE IS A MIX OF CLAY
AND RABBIT-SKIN GLUE.

IT PROVIDES A SURFACE
THAT THE GOLD CAN ADHERE TO,

AND THE RABBIT-SKIN GLUE
WILL GIVE IT FLEX

AS THE WOOD EXPANDS
AND CONTRACTS.

HE THEN TRANSFERS THE 23-KARAT
GOLD LEAF TO THE CASTING.

BEFORE HE LAYS EACH PIECE
OF GOLD LEAF,

HE WETS THE SURFACE
OF THE ORNAMENT

WITH A GILDER'S LIQUEUR --

A MIX OF WATER, ALCOHOL,
AND RABBIT-SKIN GLUE.

THIS CAUSES THE GOLD LEAF

TO CONFORM TO THE CONTOURS
OF THE ORNAMENT AND ADHERE.

AFTER THE GOLF LEAF SETS
FOR AN HOUR OR TWO,

HE BURNISHES IT
TO A VERY HIGH SHINE

USING A TOOL MADE FROM AGATE,
A VERY HARD, SEMIPRECIOUS STONE.

HUNDREDS OF YEARS AGO,

CRAFTSMAN USED DOGS' TEETH
FOR THIS JOB.

HE RUBS THE SHINY, NEW
GOLD SURFACE

WITH VERY FINE-GRADE STEEL WOOL.

THIS REMOVES SOME OF THE GOLD
TO SIMULATE NATURAL WEAR

SO THAT IT MATCHES THE PATINA
OF THE REST OF THE FRAME.

AND WHAT A TRANSFORMATION

THIS PLAIN EPOXY CASTING
HAS UNDERGONE.

NEWLY GILDED, AND IT LOOKS LIKE

IT'S ALWAYS BEEN PART
OF THE ANTIQUE FRAME.

OTHER SECTIONS OF THE FRAME
REQUIRE REGILDING.

HE RUBS ALCOHOL ONTO THOSE AREAS

TO GET RID
OF ATMOSPHERIC RESIDUE

THAT WOULD PREVENT THE ADHESION
OF THE NEW GOLD.

AND AFTER APPLYING
GILDER'S LIQUEUR,

HE LAYS SHEETS OF
THE NEW GOLD LEAF OVER THE OLD,

WORKING WITH A STEADY RHYTHM TO
GIVE THE AREA COMPLETE COVERAGE.

HE'S AIMING FOR MORE OF
A MATTE FINISH ON THIS SECTION,

SO HE DOESN'T POLISH IT.

HE BRUSHES A PROTECTIVE COAT
OF SHELLAC ONTO IT.

HE'S USED A COMBINATION
OF OLD MATERIALS AND NEW

TO RESTORE
THIS ANTIQUE GILT FRAME,

AND IT'S PICTURE-PERFECT.

Narrator: PUSHING AND PULLING
RAILCARS AT THE TRAIN YARD

IS THE JOB OF A LARGE
MOTORIZED VEHICLE

APPROPRIATELY CALLED
A RAILCAR MOVER.

IT SWITCHES THE CARS
FROM ONE TRACK TO ANOTHER,

SHUTTLES THEM IN AND OUT
OF THE CARGO LOADING AREA,

AND POSITIONS THEM IN LINE
BEHIND THE LOCOMOTIVE.

A RAILCAR MOVER HAS TO DRIVE
BOTH ON AND OFF THE TRAIN TRACK,

SO IT HAS TWO TYPES OF WHEELS --

FOUR STEEL RAIL WHEELS
FOR GUIDING IT ON THE TRACK

AND FOUR WHEELS
WITH RUBBER TIRES

FOR DRIVING ON THE GROUND.

WHEN BUILDING A RAILCAR MOVER,
THEY START WITH THE FRAME.

A COMPUTER-GUIDED PLASMA CUTTER

CUTS OUT ALL THE FRAME PARTS
FROM A 4-INCH-THICK STEEL PLATE.

ONCE ALL THE FRAME PARTS
ARE READY,

WORKERS BEGIN WELDING THEM
TOGETHER.

THEY POSITION THE DECK PLATE,
THE MOVER'S FLOOR, UPSIDE DOWN

AND WELD ON THE FRAME RAILS.

THESE WILL HOLD THE AXLES
FOR THE RUBBER WHEELS.

THEN, TO THOSE FRAME RAILS,
THEY WELD THE RAIL ARM MOUNTS.

THESE WILL HOLD THE RAIL ARMS
WHICH HOLD THE RAIL WHEELS.

AFTER WELDING SEVERAL ADDITIONAL
COMPONENTS TO THE FRAME,

WORKERS BOLT THE AXLES
FOR THE RUBBER WHEELS

TO THE FRAME RAILS...

...THEN THE RAIL ARMS
TO THE RAIL MOUNTS.

NOW THE FRAME GOES
TO THE PAINT SHOP

FOR A COAT OF PRIMER FOLLOWED
BY A COAT OF AUTOMOTIVE PAINT.

WORKERS ALSO ROLL ON
A TEXTURED FLOOR COATING

TO CREATE A NON-SLIP SURFACE

FOR THE DRIVER TO SAFELY WALK
TO AND FROM THE CAB.

WHEN THE PAINT DRIES, THE FRAME
RETURNS TO THE ASSEMBLY LINE

WHERE WORKERS BEGIN MOUNTING

THE 4.5-FOOT-WIDE RAIL WHEELS
ONTO THE RAIL ARMS.

AFTER MOUNTING EACH WHEEL
ON THE SPINDLE,

THEY INSTALL A BEARING,
THEN A LARGE NUT.

THEY MUST TIGHTEN THE NUT
TO THE CORRECT TORQUE

YET NOT OVER-TIGHTEN IT,
OR THE WHEEL WON'T TURN FREELY.

ONCE THEY'VE GOT
JUST THE CORRECT TORQUE,

THEY SECURE THE NUT
WITH A RETAINING LOCK NUT.

THEY FINISH OFF
THIS INSTALLATION

WITH THE RAIL-WHEEL EQUIVALENT
OF A HUBCAP.

THIS STEEL COVER
HOLDS IN THE GREASE

THAT LUBRICATES THE WHEEL
AND BEARING

WHILE KEEPING OUT DUST AND DIRT.

NEXT THEY MOUNT
THE FOUR RUBBER WHEELS,

SECURING EACH ONE
WITH A DOZEN BOLTS.

THESE STEEL WHEELS
WITH RUBBER TIRES

ARE ABOUT 6 1/2 FEET
IN DIAMETER.

WORKERS MOUNT
SEVERAL OTHER COMPONENTS,

INCLUDING A PAIR OF AIR TANKS
WITH GAUGES

FOR THE RAILCAR'S
PNEUMATIC BRAKE SYSTEM.

THESE ARE THE BRAKES
THE DRIVER USES

WHEN THE MOVER
IS COUPLED TO RAILCARS.

WHEN IT'S NOT,

THE MOVER HAS ITS OWN SEPARATE
HYDRAULIC BRAKE SYSTEM,

THE COMPONENTS OF WHICH WORKERS
ALSO INSTALL AT THIS STAGE.

THEY ATTACH A HYDRAULIC CYLINDER
TO THE STEER AXLE.

THIS CONTROLS THE STEERING
OF THE RUBBER WHEELS

WHEN THE MOVER
IS OFF THE TRAIN TRACK.

THE RAIL WHEELS, OF COURSE,
DON'T REQUIRE ANY STEERING,

AS THEY SIMPLY FOLLOW THE TRACK.

NOW WORKERS INSTALL THE
300-HORSEPOWER DIESEL ENGINE.

IT'S ALREADY BOLTED
TO THE TRANSMISSION.

THEN THEY HOOK UP
THE ELECTRICAL WIRING,

WHICH CONNECTS THE ENGINE
AND TRANSMISSION

TO THE COMPUTER
CONTROLLING THEM.

THEY LOWER THE HOOD OVER
THE ENGINE AND TRANSMISSION.

THE HOOD HAS THREE COMPONENTS
ALREADY INSTALLED --

THE ENGINE AIR INTAKE,
AIR CLEANER, AND MUFFLER.

FINALLY, THEY INSTALL THE CAB.

IT HAS A STEERING WHEEL
FOR DRIVING OFF-RAIL

AND A CONTROL CONSOLE
THAT ROTATES 180 DEGREES

TO LET THE DRIVER OPERATE
AT WHICHEVER SIDE OF THE CAB

PROVIDES THE BEST VIEW

OF ALL THE RAILCARS
THE MOVER IS PULLING OR PUSHING.

THE FINISHED RAILCAR MOVER
DOESN'T LEAVE THE FACTORY

BEFORE A BURN-IN PERIOD
IN THE TEST PIT.

THE TEST IS SO INTENSE,

THE RUBBER TIRES
HAVE TO BE COOLED WITH WATER.

PULLING AS MANY AS 40 RAILCARS
AT A TIME

IS NO JOB FOR A LIGHTWEIGHT.

THAT'S WHY A RAILCAR MOVER
WEIGHS IN AT UP TO 45 TONS.

Narrator: AT FIRST,
HOOD ORNAMENTS WERE USED

TO BEAUTIFY EXTERNAL TEMPERATURE
GAUGES AND RADIATOR CAPS.

THEY THEN EVOLVED
INTO SIGNATURE PIECES

THAT EMBODIED THE CAR BRAND.

AND WHEN THE RADIATOR CAPS
WERE MOVED UNDER THE HOOD,

THE ORNAMENTS STAYED ON TOP.

A HOOD ORNAMENT IS A LITTLE
PIECE OF AUTOMOTIVE ART.

POPULAR MAINLY
ON LUXURY CARS NOW,

THESE ORNAMENTS SYMBOLIZE
THE SPIRIT OF THE CAR

AND CAN MAKE QUITE A STATEMENT
ON THE STREET.

EACH ORNAMENT STARTS

WITH AN ALUMINUM MOLD
THAT CONSISTS OF MANY PARTS

IN ORDER TO ACHIEVE
A COMPLEX SHAPE.

AN INJECTOR PUMPS
SPECIALLY FORMULATED WAX

INTO THE MOLD CAVITY.

THE WAX SOLIDIFIES QUICKLY.

THE OPERATOR DISMANTLES THE MOLD
AND REMOVES THE CAST WAX MODEL.

THE DETAIL IS IMPRESSIVE.

HE EXAMINES IT FOR FLAWS.

HE COOLS THE MODEL IN WATER
UNTIL THE WAX FIRMS.

THIS WAX MODEL
WILL BE USED TO MAKE A MOLD

TO CAST THE METAL ORNAMENT

USING A TECHNIQUE THAT
DATES BACK THOUSANDS OF YEARS.

HE ATTACHES NUMEROUS CAST MODELS
TO A WAX RISER

BY MELTING THE WAX A LITTLE
SO THEY ADHERE.

THE NEXT WORKER THEN DIPS
THE MODELS AND RISER

INTO SPECIALLY FORMULATED
CERAMIC SLURRY.

HE MAKES SURE THAT THE LIQUID
COVERS EVERY DETAIL.

STILL WET, THE MODELS
THEN GO INTO THE RAIN SANDER,

SO NAMED BECAUSE
IT ACTUALLY RAINS GRIT.

THE GRIT STICKS TO THE MODELS
FOR A STUCCO EFFECT.

HE REPEATS THE CERAMIC DIP
AND GRIT PROCESS THREE TIMES

TO BUILD UP SUBSTANTIAL SHELLS
AROUND THE WAX MODELS.

THESE SHELLS WILL SERVE AS MOLDS
TO CAST THE HOOD ORNAMENT.

IN THIS CASE,
THE CASTING MATERIAL IS STEEL.

THEY MELT REJECTED
HOOD ORNAMENTS WITH STEEL CHUNKS

TO TRANSFORM THEM
INTO A WHITE-HOT LIQUID.

THE CERAMIC MODELS
HAVE BY NOW BEEN CURED

AND THE WAX MELTED OUT.

WORKERS LADLE THE MOLTEN STEEL
INTO THE RISER FEEDER CUP.

THE STEEL FLOWS
INTO ALL OF THE CERAMIC MOLDS.

THEY TOP IT OFF
WITH A MANGANESE MIXTURE

THAT CATCHES FIRE

AND KEEPS THE STEEL HOT
AND LIQUID A LITTLE LONGER,

ENSURING THAT IT FEEDS
INTO ALL OF THE MOLDS.

THE STEEL COOLS FOR
SEVERAL HOURS AND SOLIDIFIES.

AN EMPLOYEE THEN BREAKS OPEN
THE NETWORK OF MOLDS

TO REVEAL
THE CAST HOOD ORNAMENTS.

HE INSERTS A PNEUMATIC HAMMER
INTO THE FEEDER CUP,

AND IT SHAKES OFF MOST
OF THE REMAINING CERAMIC SHARDS.

THIS MACHINE BLASTS OFF THE REST

USING VERY FINE
STAINLESS-STEEL PARTICLES.

THEY'RE READY TO CUT
THE CAST ORNAMENTS

FREE FROM THE MAIN BASE.

WITH THE RISER ON ITS SIDE,

THE WORKER SLICES OFF
ONE HOOD ORNAMENT AT A TIME

USING AN ALUMINUM-OXIDE
CUTTING WHEEL.

AT THIS ANGLE,
HE CAN'T MAKE A CLEAN CUT.

HE LEAVES A FAIRLY THICK CHUNK
ON THE BASE.

HE GRINDS OFF THAT CHUNK
USING AN ABRASIVE BELT.

THE BASE OF THE HOOD ORNAMENT
IS NOW SMOOTH AND LEVEL.

NEXT HE REFINES THE SHAPE
OF THE HOOD ORNAMENT.

HE GRINDS AWAY EXCESS MATERIAL

TO IMPROVE THE PROFILE
OF THE PIECE

AND GENERALLY CLEAN IT UP.

THIS PROCESS ALSO ADDS SHINE
TO THE STAINLESS STEEL.

TO GIVE THE HOOD ORNAMENTS
A REAL POLISH,

THEY PLUNGE THEM
INTO A SULFURIC-ACID SOLUTION.

THE SOLUTION EATS AWAY
IMPURITIES TO EXPOSE THE NICKEL.

A WORKER BUFFS
EACH HOOD ORNAMENT

AGAINST A CLOTH WHEEL
UNTIL IT GLEAMS.

HE EXAMINES HIS WORK
UNDER A MAGNIFYING GLASS.

DEFECTS WON'T BE TOLERATED,

AND EVEN AT THIS STAGE,
THE STATUETTE COULD BE REJECTED

AND MELTED INTO A NEW ONE.

IT PASSES INSPECTION.

MADE OF STEEL, SILVER, OR GOLD,
A HOOD ORNAMENT ON A LUXURY CAR

IS A GREAT WAY
TO SAY YOU'VE ARRIVED.

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