All language subtitles for How Its Made S28E13 Thai Barbecues 1080p AMZN WEB-DL DDP2 0 H 264-SLAG_track4_[eng]

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Narrator: THE WORD BARBECUE
SEEMS TO ORIGINATE IN HAITI

WHERE INDIGENOUS PEOPLE
DEVELOPED

A METHOD OF COOKING MEAT
OUTDOORS OVER A WOODEN STRUCTURE

LONG BEFORE COLUMBUS ARRIVED.

NOBODY KNOWS EXACTLY
WHEN HUMANS STARTED GRILLING.

BUT IT'S SAFE TO ASSUME
THAT WE'VE BEEN

COOKING OUTDOORS
LONGER THAN INDOORS.

IN THAILAND, MANY HOMES
AND RESTAURANTS

HAVE A POPULAR KIND
OF BARBECUE.

IT'S A SMALL PORTABLE
CHARCOAL BURNER.

THIS NEW, MORE EFFICIENT
DESIGN HAS BECOME

INCREASINGLY POPULAR BOTH
IN THAILAND AND ABROAD.

WORKERS START BY ADDING
THE RAW MATERIALS

TO A MIXER, BEGINNING WITH CLAY.

THEY ADD A FIBER DERIVED
FROM GROUND-UP RICE HUSKS.

THIS FIBER REINFORCES THE CLAY,

GIVING IT ADDED STRENGTH

AND HELPING TO PREVENT
THE FINISHED PRODUCT

FROM CRACKING
AT HIGH TEMPERATURES.

THE CORRECT MIXTURE IS TWO PARTS
CLAY TO ONE PART HUSK.

ONCE THE MIXER THOROUGHLY
BLENDS THE MATERIALS,

IT EXTRUDES THE RESULTING
COMPOUND IN A THICK RIBBON,

READY FOR THE NEXT
PHASE OF PRODUCTION.

A WORKER ROLLS THE CLAY
IN A SMALL QUANTITY

OF A THIRD MATERIAL
ALSO DERIVED FROM RICE.

THIS IS RICE HUSK ASH.

AND ADDING IT TO THE CLAY
HELPS PREVENT MOLD GROWTH.

A CRAFTSMAN PLACES
THE CLAY INSIDE

A SPECIALLY SHAPED MOLD,

WHICH SITS ON A POTTER'S WHEEL.

AS THE WHEEL TURNS THE MOLD,

THE CRAFTSMAN WORKS
WITH A METAL ARM

AND HANDHELD TOOLS TO SPREAD

AND SHAPE THE CLAY.

HE THEN REMOVES
THE FULLY FORMED CLAY POT.

HAVING MARKED OUT
THREE LOCATIONS

ON THE RIM OF THE POT,

A CRAFTSMAN NOW ADDS SOME HUSK
ASK TO A HANDHELD MOLD

TO PREVENT STICKING.

HE THEN PACKS THE MOLD WITH CLAY

BEFORE PRESSING IT
INTO THE POT'S RIM

AND INNER SURFACE.

HE SMOOTHES THE CLAY
AROUND THEM,

INTEGRATING THEM INTO THE POT.

THESE THREE ELEMENTS
WILL FORM RAISED SUPPORTS

FOR COOKING POTS,
WOKS AND KETTLES.

AT THIS STAGE, THE POT
HAS AIR DRIED ENOUGH

TO SAFELY REMOVE IT
FROM THE MOLD.

THE CRAFTSMAN NOW USES
A HANDHELD TOOL TO DEFINE

AND FINISH THE EDGES
OF THE RIM AND SUPPORTS.

HE THEN USES A METAL,
RECTANGULAR TEMPLATE TO MARK

AND CUT OUT A SMALL VENT FOR AIR
INTAKE AT THE BASE OF THE POT.

AN ARTISAN PREPARES
A SMALL DISK OF CLAY

FOR A DIFFERENT STAGE
OF PRODUCTION.

HE USES A CYLINDRICAL METAL TOOL

TO CUT A SERIES
OF 62 HOLES IN THE DISK,

CREATING A HONEYCOMB PATTERN

THAT WILL ALLOW
THE PASSAGE OF AIR.

HE USES A SMALL
BEVELED WOODEN TOOL

TO HELP SMOOTH
THE EDGES OF THE HOLES.

WHEN THE POTS
ARE FULLY FORMED,

WORKERS TRANSFER THEM
TO THE WALK-IN OVEN.

ONCE THERE ARE
A TOTAL OF 500 POTS

AND HONEYCOMBS INSIDE,

IT'S TIME TO FIRE UP THE OVEN.

THE POTS SPEND 8 HOURS

IN THE OVEN AT NEARLY
2,200 DEGREES FAHRENHEIT.

THE FIRING PROCESS GIVES
THE GRAY CLAY A REDDISH TINGE.

TO ASSEMBLE THE BARBECUES,

A WORKER STARTS BY CREATING
A LAYER OF RICE HUSK

BETWEEN THE CLAY POT
AND THE ZINC BUCKET.

THIS INSULATES THE METAL
FROM THE BARBECUE'S HEAT.

HE CUTS OUT THE RECTANGULAR VENT

THAT WILL ALLOW AIR
TO FLOW INTO THE BOTTOM

OF THE BARBECUE
AND HELP FUEL THE FIRE.

HE ADDS SOIL TO THE GAP
BETWEEN THE POT

AND THE BUCKET TO FURTHER
INSULATE THE EXTERIOR

METAL FROM THE INTERIOR HEAT.

THE CRAFTSMAN NOW SEALS
ALL THE GAPS IN THE BARBECUE

WITH MORTAR IN ORDER

TO KEEP THE HUSK
AND SOIL FIRMLY IN PLACE.

THE HONEYCOMB DISK
FITS PERFECTLY

INTO THE BOTTOM OF THE POT.

IT WILL HOLD CHARCOAL UP
ABOVE THE VENT HOLE,

ALLOWING AIR TO FLOW UP
THROUGH IT,

FUELING THE FIRE,

WHILE PERMITTING ASH TO FALL
DOWN INTO THE CAVITY BELOW.

A WORKER CAREFULLY MORTARS
THE DISK IN PLACE.

THIS BARBECUE
IS A LOW-TECH

BUT HIGHLY EFFECTIVE
OUTDOOR STOVE,

USEFUL WHENEVER IT'S TOO HOT
TO COOK INSIDE.

Narrator:
IF YOU'RE SCUBA DIVING,

FREE DIVING OR SNORKELING,

YOU NEED A MASK TO MAINTAIN
A LAYER OF AIR

BETWEEN YOUR EYES AND THE WATER.

WITHOUT THAT BARRIER,

YOUR EYES CAN'T FOCUS
UNDER WATER.

FINS ARE ANOTHER DIVING
MUST-HAVE

TO LET YOU PUSH AWAY MORE WATER
WHEN YOU KICK

AND GIVE YOU
STRONGER PROPULSION.

DIVING FINS CONSIST OF
A FOOT POCKET AND A BLADE.

THE BLADE HAS SIDE ARMS
RUNNING DOWN ITS LENGTH.

THESE STRENGTHEN THE BLADE
AND AMPLIFY THE FORWARD

THRUST A KICKING FOOT GENERATES.

THE PARTS ARE MADE
OF THERMOPLASTIC.

TO MAKE THE FIN BLADE,

THE MANUFACTURERS
MIX CLEAR THERMOPLASTIC GRANULES

WITH A SPECIFIC PORTION
OF COLOR DYE GRANULES

AND DROP THEM INTO THE FEED TANK

OF AN INJECTION MOLDING MACHINE.

THE FACTORY USES CERTAIN
TYPES OF THERMOPLASTIC

WHEN MAKING FINS
WITH A STIFF BLADE

AND OTHER TYPES WHEN MAKING
MORE FLEXIBLE MODELS.

THE MACHINE HEATS THE GRANULES

UNTIL THEY MELT THEN INJECTS
THE LIQUEFIED THERMOPLASTIC

INTO A BLADE-SHAPED MOLD.

THE PLASTIC QUICKLY
COOLS AND SOLIDIFIES.

THEN THE MOLD OPENS.

AND EXTRACTORS EJECT THE BLADE.

A ROBOT GRASPS THE BLADE
WITH SUCTION AND REMOVES

IT FROM THE MOLD.

AS THE ROBOT LIFTS
THE BLADE OUT OF THE MACHINE,

THE MOLD CLOSES AGAIN

TO RECEIVE ANOTHER INJECTION

TO MAKE THE NEXT BLADE.

THE ROBOT DEPOSITS
THE BLADE ONTO A CONVEYER BELT

WHICH TRANSPORTS IT
THROUGH A COLD-AIR TUNNEL.

THIS COOLS
THE THERMOPLASTIC ENOUGH

TO ENABLE THE UPCOMING
COMPONENT MATERIALS

TO PROPERLY ADHERE TO THE BLADE.

THE NEXT ROBOT PICKS UP
THE COOLED BLADE

AND MOVES IT TO ANOTHER
INJECTION MOLDING MACHINE,

WHICH PERFORMS A PROCESS KNOWN
AS OVER PRINTING,

MOLDING ON ADDITIONAL PARTS
UNTIL THE FIN IS COMPLETED.

THE ROBOT FIRST
REMOVES THE PREVIOUS

COMPLETED FIN FRESH OUT

OF THE OVER
PRINTING INJECTION MOLD.

THIS MACHINE MELTED
DOWN GRANULES

OF THERMOPLASTIC RUBBER,

A MORE FLEXIBLE MATERIAL,

AND SIMULTANEOUSLY INJECTION
MOLDED THE SIDE ARMS

AND THE FOOT POCKET
ONTO THE BLADE.

ONCE THE ROBOT PULLS OFF
THIS COMPLETED FIN,

IT LOADS THE NEW BLADE
INTO THE MOLD.

AS THE MOLD CLOSES
FOR THE NEXT INJECTION,

THE ROBOT DEPOSITS THE FINISHED
FIN INTO A CONVEYER BELT.

THE OVER PRINTING
PROCESS ALSO APPLIED

THE MANUFACTURER'S NAME

AND SOME DECORATIVE ELEMENTS.

BY CHANGING THE MOLDS
ON THE INJECTION MACHINES

AND USING DIFFERENT
TYPES AND COLORS

OF THERMOPLASTIC MATERIALS,

THE FACTORY PRODUCES
A WIDE RANGE OF FIN MODELS.

A DIVING MASK IS MADE UP

OF A FLEXIBLE SILICONE
FACIAL SKIRT ATTACHED

TO A RIGID FRAME
WITH LENSES.

THE SKIRT, WHICH THIS INJECTION

MOLDING MACHINE PRODUCES
FROM LIQUID SILICONE,

SEALS THE FRAME TO THE FACE,

PREVENTING WATER INFILTRATION.

WHILE THERMOPLASTIC MUST BE
MELTED BEFORE INJECTION,

THEN COOLED TO
A SOLID STATE,

SILICONE MUST BE
INJECTED COMBINED

WITH A HARDENING AGENT

THEN HEATED TO A SOLID STATE.

THE FRAME IS MADE
THE SAME WAY AS THE FINS

BUT USING A MORE RIGID
TYPE OF THERMOPLASTIC.

A WORKER BEGINS
ASSEMBLING THE MASK

BY THREADING
A SILICONE HEAD STRAP

THROUGH THE FRAME'S BUCKLES.

THEY ATTACH THE SILICONE SKIRT,

FIRST PRESSING THE NOSE PORTION
INTO THE BRIDGE OF THE FRAME.

THEN THE WORKER
CONNECTS THE EYE AREA.

THE FRAME IS DESIGNED
TO ENABLE THE SILICONE SKIRT

TO SLOT RIGHT IN.

NEXT, THE LENSES, WHICH ARE
MADE OF TEMPERED GLASS.

WHILE THEY'RE HIGHLY RESISTANT,

THEY DON'T WITHSTAND
FRONTAL IMPACT.

SO THE DIVER SHOULDN'T PLUNGE
INTO THE WATER FACE FIRST.

THE FINAL STEP
IS TO CLIP IN

RIGID THERMOPLASTIC
LENS RETAINERS

AND CLAMP EACH ONE SECURELY
TO THE LENS AND FRAME.

THE MASK IS NOW READY
FOR A FINAL INSPECTION

TO MAKE SURE NO WATER WILL SEEP
IN WHEN YOU WEAR IT.

JUST LIKE FINS,

THERE'S A WIDE RANGE
OF DIVING MASK MODELS

DESIGNED TO SEE
THROUGH DIFFERENT

TYPES OF UNDERWATER EXPLORATION.

Narrator: THE BASSOON WAS
DEVELOPED IN FRANCE

IN THE 17TH CENTURY.

IT WAS A BASS
WOODWIND INSTRUMENT

LIKE NO OTHER BEFORE IT.

IT EXTENDED THE RANGE
DOWNWARD BY A WHOLE TONE.

THIS WAS A WOODWIND INSTRUMENT

THAT COULD HOLD ITS OWN
AGAINST THE BASS STRINGS.

YOU COULD HEAR
THE DIFFERENCE.

IN THE BASSOON,
THE PIPE IS DOUBLED UP

INTO A TIGHT U FOR AN INSTRUMENT

THAT HAS THE NECESSARY LENGTH
TO PRODUCE THE LOW NOTES

BUT IS NOT UNWIELDY.

TO MAKE A BASSOON,
THEY USE BOSNIAN MAPLE.

IT'S A DENSE WOOD STABLE
ENOUGH TO PREVENT VIBRATIONS.

A CUTTING TOOL TAKES OFF
THE CORNERS OF THE WOOD BLOCK

AS IT BEGINS TO SHAPE IT

INTO THE END PART
OF THE BASSOON,

THE BELL JOINT.

USING A REAMING TOOL,

THEY DRILL A CONE-SHAPED AIR
COLUMN INTO THE BELL JOINT.

THE NEXT AUTOMATED
CUTTING TOOL TRIMS

THE CIRCUMFERENCE AND FORMS
A RIM ON THE END.

FROM A ROUGH PIECE OF WOOD
TO A CONTOURED PIPE,

THIS BELL JOINT
HAS TAKEN SHAPE.

AT ANOTHER STATION,

A BASSOON TECHNICIAN DRILLS

ANGLED FINGER HOLES INTO
THE WING OR TENOR JOINT.

THEN HE FILES THE ENDS
OF METAL TUBES

TO SHAPE THEM TO AN ANGLE

THAT MATCHES THAT
OF THE FINGER HOLES.

THE TECHNICIAN ALSO FILES
DOWN THE OUTSIDE OF THE TUBES

AND CARVES GROOVES INTO THEM.

HE APPLICATIONS EPOXY GLUE
TO THE GROOVES

AND INSTALLS THE TUBES
IN THE FINGER HOLES.

THE GLUE SEALS THE TUBES
TO THE FINGER HOLES.

THE TECHNICIAN CHECKS FOR LIGHT
AROUND THE TUBE INSTALLATIONS.

THAT WOULD INDICATE
AN IMPROPER SEAL.

THE NEXT MEMBER OF THE TEAM

STAINS THE BELL JOINT
TO ENHANCE THE WOOD GRAIN.

SHE APPLIES THE SAME FINISH
TO EVERY PART OF THE BASSOON.

THERE ARE FOUR JOINTS
THAT CAN BE DISASSEMBLED

TO FIT INTO A CARRYING CASE.

SHE ALSO BRUSHES A SPECIAL
LACQUER OVER THE STAIN.

THIS LACQUER IS BELIEVED
TO EFFECT THE INSTRUMENT'S TONE,

GIVING IT A ROUND RESONANCE.

AFTER A LIGHT SANDING,

THE PARTS ARE BUFFED
TO RESTORE THE SHINE.

THE OTHER CRAFTSMAN NOW DRILLS

TONE HOLES INTO THE LONG JOINT.

HE DRILLS A GROOVE
FOR THE MUSICIAN TO SLIDE HIS

OR HER FINGER DOWN
TO THE C KEY.

HE RELIES ON THIS
METAL TEMPLATE

TO CORRECTLY PLACE
THE TONE HOLES

AND THE HOLES
FOR THE KEY POSTS.

OVER TO THE NEXT STATION,

A TECHNICIAN DRILLS THREADS
INTO THE KEY HOLES.

HE INJECTS OIL
INTO THE HOLES

THROUGHOUT THE DRILLING PROCESS.

THIS PROVIDES LUBRICATION
TO THE DRILL

TO PREVENT SPLINTERING
OF THE WOOD.

HE CLAMPS A KEY POST
IN A SPECIAL GRIPPING TOOL

TO HOLD IT FIRMLY AS HE FILES IT
TO THE CORRECT LENGTH.

THE TECHNICIAN SCREWS THE KEY
POST INTO THE THREADED HOLE.

ONCE IT'S INSTALLED,
HE REMOVES THE GRIPPING TOOL.

USING A LONG DRILL
AIMED LATERALLY,

HE CARVES HOLES INTO THE SIDES
OF THE KEY POSTS.

THE TECHNICIAN
INSTALLS A KEY

BY FITTING A HINGE TUBE
INTO THE HOLES IN THE POST.

HE CONFIRMS THAT THE PAD CUP
ON THE END COVERS

THE TONE HOLE COMPLETELY.

SATISFIED WITH THE POSITIONING,

HE UNPINS THE KEY AND SOLDERS
THE HINGE TUBE TO IT.

WHEN THE SOLDER SOLIDIFIES,
HE FILES DOWN THE BULGE.

SILVER PLATING GIVES IT
A UNIFORM FINISH.

A TECHNICIAN THEN GLUES THE BACK
OF A PIECE OF CORK SIZED

TO FIT THE RIM
OF THE BASSOON'S LONG JOINT.

HE WRAPS THE CORK
AROUND THE RIM.

AND HE FILES IT TO MAKE
THE SEAM DISAPPEAR.

HE THEN SANDS IT SMOOTH.

CORK PROVIDES A FLEXIBLE LINK
BETWEEN THE INSTRUMENT JOINTS.

IT WILL TOLERATE
THE EXPANSION

AND CONTRACTION OF THE WOOD
DUE TO TEMPERATURE CHANGES.

A COMPUTER-CONTROLLED
LASER ETCHES PRODUCT INFORMATION

ONTO THE INSTRUMENT'S
WING AND BOOT JOINTS.

THE TECHNICIAN EQUIPS
THE END OF THE BELL JOINT

WITH A DECORATIVE
PLASTIC RING.

IT'S AN ALTERNATIVE
TO IVORY,

WHICH IS IN SHORT SUPPLY.

STAY TUNED FOR MORE
AS THEY PREPARE THIS BASSOON

FOR A LIFE OF PERFORMANCE.

Narrator: THE BASSOON
IS OFTEN CALLED

THE CLOWN OF THE ORCHESTRA

BECAUSE OF ITS ABILITY
TO PRODUCE IMPISH

AND ALMOST COMICAL SOUNDS.

IT ALSO DEEPENS
THE SYMPHONIC SOUND

WITH ITS RICH,
MELLOW TONES.

IT MAY BE THE CLOWN,

BUT THE BASSOON MAKES
A SERIOUS CONTRIBUTION

TO THE ORCHESTRAL ENSEMBLE.

A BASSOON CRAFTSMAN GLUES
A SILVER-PLATED COLLAR

TO THE END OF THE BELL JOINT

THAT ATTACHES TO THE LONG JOINT.

THE COLLAR REINFORCES THE WOOD.

AND IT ALSO GIVES THIS END

OF THE BELL JOINT
A FINISHED LOOK.

HE USES A BLOCK OF WOOD

TO ABSORB THE IMPACT
OF THE BLOWS

AS HE HAMMERS THE GLUED COLLAR

SNUGLY IN THE RECESS
IN THE BELL JOINT.

PRODUCTION NOW MOVES BACK
TO THE BASSOON'S KEYS,

AS ANOTHER CRAFTSMAN POLISHES

THE SILVER TO A MIRROR FINISH.

EACH BASSOON HAS BETWEEN
38 AND 46 KEYS,

DEPENDING ON THE MODEL.

FINISHING THESE KEYS IS
THE MOST INTENSE PART

OF THE BASSOON-MAKING PROCESS.

THE TECHNICIAN GLUES
PADDING TO THE KEY CUPS,

SPATULAS AND LEVERS.

THE PADDING WILL MUFFLE
THE CLICKS OF THE KEYS

SO THEY DON'T RISE
ABOVE THE MUSIC.

THEY USE DIFFERENT MATERIALS,

DEPENDING ON THE LENGTH
OF THE KEYS.

LONGER KEYS
MAKE MORE NOISE.

SO THEY RECEIVE
THICK CORK PADDING.

THE TECHNICIAN FILES
THE EDGES OF THE PADS

TO MAKE THEM FLUSH
TO THE KEY PARTS.

THE SHORTER KEYS RECEIVE
THE THINNER RUBBER PADS.

AGAIN, FILING GETS RID

OF THE EXTRA MATERIAL
AROUND THE EDGES.

ON THE SPATULA OF THIS
MEDIUM-LENGTH KEY,

THE TECHNICIAN
INSTALLS A FELT PAD.

FELT IS THICKER THAN RUBBER
BUT THINNER THAN CORK.

AS YOU CAN SEE,
APPLYING PADS

TO THE BASSOON'S KEYS
IS A REAL SCIENCE.

WITH THAT JOB DONE,
HE MOVES ONTO THE NEXT STEP,

ATTACHING THE RUBBER ROLLERS

THAT ENABLE THE MUSICIAN
TO PLAY FASTER.

THE TECHNICIAN INSERTS SCREWS

IN THE HOLLOW OF THE ROLLERS

TO SECURE THEM TO THE KEYS.

AND HE SCREWS THEM
TIGHTLY IN PLACE.

HE THEN FASTENS
FLAT SPRINGS TO SOME KEYS

SO THEY'LL SPRING
BACK ONCE PLAYED.

THE NEXT TECHNICIAN MELTS
WAX INTO THE KEY CAPS

THAT WILL CLOSE THE TONE
HOLES OF THE BASSOON.

AND WHILE THE WAX
IS STILL MOLTEN,

SHE INSERTS A FELT

AND CARDBOARD PAD COVERED
WITH GOAT LEATHER.

SHE SECURES THE KEY
TO THE LONG JOINT.

THE WAX HAS HARDENED
A BIT BY NOW.

SO SHE HEATS IT UP
AGAIN USING A TORCH.

THIS SOFTENS IT
SO SHE CAN MANIPULATE THE PAD

SO IT SITS PERFECTLY IN THE CUP.

THE TECHNICIAN PROPS UP

THE END OF THE KEY
WITH A PIECE OF CORK.

AND THIS STOPS THE KEY

FROM MOVING UNTIL
THE WAX SOLIDIFIES.

THEY INSTALL THE BOOT
JOINT KEYS THE SAME WAY.

INSIDE THE BOOT JOINT
ARE TWO PARALLEL

PIPES MADE OF HARD RUBBER.

THE BASSOON TECHNICIAN PLACES

A SEAL ON THE END
OF THE JOINT.

HE INSTALLS A SILVER-PLATED
U-SHAPE TUBE OVER IT.

AND THIS CREATES
A TURNING POINT FOR AIR.

HE CAPS IT TO PREVENT
AIR FROM ESCAPING.

THE TECHNICIAN ATTACHES
A HAND REST TO THE BOOT JOINT.

HE FASTENS A LONG CLIP
TO THE INSTRUMENT

FOR THE BASSOON STRAP.

IT'S ADJUSTABLE FOR DIFFERENT
SHOULDER POSITIONS.

THE STEEL BOCAL OR CROOK

CONNECTS THE REED
TO THE BASSOON.

ALL THE PARTS SHOULD NOW
FIT TOGETHER PERFECTLY.

THE TECHNICIAN ATTACHES
THE FOUR JOINTS.

HE INSERTS THE WING JOINTS

INTO ONE OF THE BOOT'S
JOINT HOLES.

HE INSTALLS THE LONG
JOINT IN THE OTHER.

HE LOCKS THE WING
AND LONG JOINTS TOGETHER

WITH A LITTLE MECHANISM.

THE TECHNICIAN THEN
CONNECTS THE BELL JOINT

TO THE LONG JOINT.

HE PLACES THE BOCAL
IN ITS SOCKET

ATOP THE WING JOINT.

HE THEN CHECKS THE BOCAL'S
VENT KEY TO CONFIRM

THAT IT OPENS
AND CLOSES CORRECTLY.

AND NOW A PROFESSIONAL MUSICIAN

TESTS THE BASSOON AND TUNES IT.

WITH HIS OKAY,
THE BASSOON LEAVES

THE FACTORY READY TO JOIN
THE ORCHESTRA.