Original subtitles

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

CAPTIONS PAID FOR BY DISCOVERY COMMUNICATIONS

Narrator: THE FIRST COMPUTERS

USED TO BE THE SIZE OF AN ENTIRE ROOM.

THEN THEY WERE BUILT TO FIT ON YOUR DESK.

THE NEWEST DESIGN IS A PORTABLE DEVICE THAT SITS ON YOUR LAP,

AND TODAY'S LAPTOPS ARE MADE

EVEN SMALLER AND MORE POWERFUL THAN EVER.

WITH ITS LIGHTNING-FAST PROCESSOR

AND IMPRESSIVE GRAPHICS,

THIS LAPTOP IS DESIGNED FOR HIGH-PERFORMANCE GAMING.

THE COMPUTER'S BRAIN, CALLED THE MOTHERBOARD,

BEGINS AS A PRINTED CIRCUIT BOARD.

ITS PATTERN OF LINES AND PADS AND COPPER

IS THE WIRING FOR THE ELECTRONIC COMPONENTS

THAT WILL BE SOLDERED TO THE BOARD.

THIS MACHINE PLACES A STENCIL OF THE COMPONENT LAYOUT

ONTO THE BOARD

AND APPLIES SOLDER PASTE THROUGH THE OPENINGS.

A QUALITY-INSPECTION CAMERA PHOTOGRAPHS THE SOLDER PASTE

AND SENDS THE IMAGES TO A COMPUTER.

THE COMPUTER ANALYZES THEM, LOOKING FOR ANY MISSING PASTE,

MISALIGNMENT, OR OTHER MISTAKES.

IF THE BOARD PASSES INSPECTION,

IT PASSES THROUGH 15 ROBOTIC MACHINES,

EACH OF WHICH PLACES UP TO 150 COMPONENTS

ON THE CORRECT LOCATIONS ON THE BOARD IN JUST 30 SECONDS.

THEN THE BOARD RUNS THROUGH AN OVEN

THAT MELTS THE SOLDER PASTE,

CONNECTING THE COMPONENTS TO THE BOARD.

ANOTHER CAMERA INSPECTION ENSURES

THAT THE INTERNAL PROCESSOR IS CORRECTLY SOLDERED,

AND THAT NO COMPONENT IS MISSING OR SHIFTED OUT OF POSITION.

AFTER FUNCTION TESTING AND A VISUAL INSPECTION,

THE MOTHERBOARD MOVES TO THE ASSEMBLY LINE

AND IS SET ASIDE FOR THE TIME BEING.

NEXT, TECHNICIANS MANUALLY ASSEMBLE THE TOP HALF

OF THE LAPTOP CALLED THE PANEL KIT.

THEY PLACE PROTECTION FILM ON THE 15-INCH LCD SCREEN.

THEN THEY PLUG IN THE CABLE

THAT WILL CONNECT THE LCD TO THE MOTHERBOARD.

THEY INSERT THE LCD SCREEN INTO A FRAME WITH A WEB CAMERA

AND MICROPHONE ALREADY EMBEDDED.

THEN THEY ATTACH THIS ANTENNA BOTTOM COVER TO THE SCREEN COVER

AND POSITION THE MOTHERBOARD CABLE INSIDE IT.

NEXT, THEY INSTALL THE MODULE FOR THE WEBCAM AND MICROPHONE.

THEY ATTACH TWO HINGES,

WHICH CONNECT THIS PANEL KIT TO THE REST OF THE LAPTOP.

THEN THEY INSTALL THE WI-FI ANTENNA

IN THE ANTENNA BOTTOM COVER.

ALL COMPONENTS ARE CONCEALED IN THE ANTENNA BOTTOM COVER

BEHIND THIS ANTENNA TOP COVER.

THEY COMPLETE THE PANEL KIT

BY PRESSING IN A THIN METAL FRAME AROUND THE SCREEN.

NEXT, THEY ASSEMBLE THE BOTTOM HALF OF THE LAPTOP.

FIRST, TECHNICIANS ATTACH THE TOP COVER

TO THE PANEL-KIT HINGES AND THE TOUCHPAD.

THEN THEY INSTALL THE RIGHT AND LEFT SPEAKERS IN THE TOP COVER.

NOW THE MOTHERBOARD COMES BACK INTO PLAY.

AFTER INSPECTION, A COMPUTER-GUIDED ROUTER

CUTS OUT OPENINGS TO ACCOMMODATE THE COMPUTER'S FANS,

WHICH PREVENT THE ELECTRONICS FROM OVERHEATING.

A GAMING LAPTOP GENERATES A LOT MORE HEAT THAN A REGULAR LAPTOP

AND THEREFORE REQUIRES TWO POWERFUL FANS RATHER THAN ONE.

AFTER CHECKING THAT THE FAN SCREWS

ARE SUFFICIENTLY TIGHTENED,

THEY PLACE THE MOTHERBOARD INTO THE TOP COVER.

CONTAMINANTS SUCH AS DUST OR OIL CAN IMPEDE PROPER CONTACT,

SO AS A PRECAUTION, THEY CLEAN THE CONNECTORS

FOR THE MEMORY MODULES WITH SOLVENT,

THEN DRY THEM WITH COMPRESSED AIR.

THEN THEY INSTALL THE MEMORY MODULE,

THE WI-FI AND BLUETOOTH MODULE,

AND THE SOLID-STATE DISC, WHICH STORES DATA.

THEY CONNECT A HIGH-CAPACITY BATTERY TO THE MOTHERBOARD.

BATTERIES FOR GAMING LAPTOPS ARE TYPICALLY LARGER

BECAUSE THE FASTER PROCESSOR AND DUAL FANS CONSUME MORE POWER.

THE LAST COMPONENT IS THE KEYBOARD,

WHICH FITS INTO A RECTANGULAR OPENING

IN THE TOP COVER OF THE BOTTOM HALF.

A LASER-ETCHING MACHINE

MARKS THE REQUIRED INFORMATION UNDERNEATH.

AN AUTOMATED MACHINE TESTS NUMEROUS FUNCTIONS,

AND A QUALITY-CONTROL TEAM TESTS SEVERAL OTHERS,

INCLUDING THE VIRTUAL-REALITY FEATURE...

...THE LCD AND KEYBOARD COLOR DISPLAYS...

AND THE KEYS.

NOT ONLY MUST THE KEYS FUNCTION PROPERLY,

THEY NEED TO BE DURABLE,

SO ENTHUSIASTIC GAMERS WON'T BREAK THEM WHILE PLAYING.

Narrator: PANETTONE IS A TRADITIONAL ITALIAN SWEETBREAD

MOST COMMONLY PREPARED FOR DESSERT ON CHRISTMAS

AND NEW YEARS.

BAKING AUTHENTIC PANETTONE

CAN TAKE UP TO TWO DAYS OR MORE TO MAKE.

A CERTAIN EXPERTISE IS NEEDED TO TURN THESE INGREDIENTS

INTO ITS DOMED-LIKE SHAPE WHILE MAINTAINING ITS FLUFFY CENTER.

THE BAKER POURS HIGH-PROTEIN FLOUR TO A MIXING BOWL.

THEN HE ADDS THE FLOUR

INTO AN INDUSTRIAL-SIZED DOUGH MIXER

THAT HAS HOOKED MIXING ARMS.

HE ADDS FRESH YEAST, MILK POWDER,

AND ENOUGH WATER TO BIND THE INGREDIENTS TOGETHER.

HE PLACES THE SAFETY CAGE OVER THE DOUGH MIXER.

AS THE HOOK AGITATORS BLEND THE INGREDIENTS, GLUTEN FORMS.

GLUTENS WILL GIVE THE PANETTONE STRUCTURE.

SUGAR WILL FEED THE GROWTH OF THE YEAST.

THE AGITATORS EVENLY DISTRIBUTE IT IN THE DOUGH.

MEANWHILE THE BAKER CRACKS EGGS

AND SEPARATES THE YOLKS FROM THE WHITES.

HE WEIGHS THE YOLKS AND ADDS THEM TO THE MIX.

THIS PANETTONE RECIPE CALLS FOR EGG YOLKS ONLY.

YOLKS PROVIDE FAT TO HELP EMULSIFY THE DOUGH

AND GIVE IT FLAVOR.

TO FURTHER ENRICH THE FLAVOR OF THE PANETTONE,

HE ADDS A GENEROUS AMOUNT OF BUTTER.

THE MIXER FOLDS IT INTO THE DOUGH.

HE TRANSFERS THE DOUGH TO A CONTAINER

AND LEAVES IT TO RISE FOR 11 HOURS.

THIS PROCESS IS CALLED PROOFING THE DOUGH.

THE DOUGH UNDERGOES MULTIPLE PROOFINGS.

IN BETWEEN EACH PROOFING PERIOD, THE BAKER DEFLATES THE DOUGH

AND RETURNS IT TO THE MIXER.

DURING THIS PROCESS, THE YEAST CONSUMES SUGAR,

SO HE ADDS MORE TO FEED THE PROCESS.

NEXT, HE ADDS MORE OF THE OTHER INGREDIENTS,

AND THE MIXER KNEADS THEM INTO THE DOUGH FOR ONE HOUR.

THE MIXER WORKS THE DOUGH, CREATING BANDS OF ELASTICITY,

SO THAT THE DOUGH WILL STRETCH DURING RISING.

IN THE FINAL MIXING STAGE,

THE BAKER ADDS VANILLA EXTRACT FOR ANOTHER FLAVOR DIMENSION.

WHILE THE DOUGH MIXER DISTRIBUTES IT,

HE MEASURES FRUIT BY WEIGHT.

THE PANETTONE RECIPE CALLS FOR TWO PARTS RAISINS,

ONE PART CANDIED ORANGE PIECES,

AND ONE PART CANDIED LEMON PIECES.

THE MIXER FOLDS THEM INTO THE DOUGH.

AFTER ANOTHER PROOFING,

THE BAKER SLICES THE FRUITED DOUGH INTO CHUNKS.

SOME OF THE WATER IN THE DOUGH WILL EVAPORATE DURING BAKING

AND THE PANETTONE SHOULD END UP ABOUT TWO POUNDS.

HE SHAPES EACH CHUNK INTO A UNIFORM MOLD

AND LEAVES THE DOUGH CHUNKS

TO RISE FOR AN HOUR IN A WARM CHAMBER.

INSTEAD OF METAL PANS, PANETTONE IS BAKED IN THESE PAPER MOLDS.

THE MOLDS WILL ALSO BE USED AS RETAIL PACKAGING.

AFTER ABOUT AN HOUR IN THE WARMING CHAMBER,

THE DOUGH CHUNKS HAVE DOUBLED IN SIZE.

THE BAKER WORKS THEM INTO A ROUNDER FORM

AND TRANSFERS THEM TO PAPER MOLDS.

THEN IT'S BACK INTO THE WARMING CHAMBER FOR ANOTHER PROOFING.

AS THE DOUGH RISES,

THE ROUND SHAPE IS CONTAINED BY THE PAPER MOLDS.

AFTER SIX HOURS, HE TAKES OUT THE MOLDS AND CARVES

CROSSES INTO THE RISEN DOUGH.

HE ADDS SMALL PIECES OF BUTTER TO THE MIDDLE OF EACH CROSS.

AFTER 24 HOURS OF PREPARATION,

THE PANETTONES ARE READY TO BE COOKED.

THEY BAKE FOR 45 MINUTES AT 320 DEGREES FAHRENHEIT.

ONCE COMPLETE, HE QUICKLY SPEARS EACH PANETTONE

WITH A METAL ROD NEAR THE BASE AND HANGS IT UPSIDE DOWN.

THE PANETTONES COOL FOR UP TO 24 HOURS

IN THIS UPSIDE-DOWN SUSPENDED STATE.

THIS STRETCHES THE WARM BREADS TO GIVE THEM THEIR DOME SHAPE

AND STOPS THEM FROM CAVING INWARD.

ONCE COOLED, THE PANETTONES ARE READY TO BE WRAPPED FOR RETAIL.

ALL THAT PROOFING HAS ALLOWED THE FLAVORS TO MATURE

AND THE FLUFFY TEXTURE TO DEVELOP.

THE YEAST WILL ACT AS THE PRESERVATIVE,

KEEPING THIS ITALIAN CHRISTMAS BREAD FRESH FOR UP TO 30 DAYS.

Narrator: THE SAXOPHONE WAS INVENTED IN THE MID-1800s

BY ADOLPHE SAX,

THE SON OF BELGIUM'S CHIEF INSTRUMENT MAKER.

WITH THE SAXOPHONE, SAX BLENDED THE POWER OF A BRASS HORN

WITH THE NUANCES OF A WOODWIND INSTRUMENT.

THIS INSTRUMENT HAS THE ABILITY TO SOUND

BRIGHT AND EDGY OR DARK AND MOODY.

EVEN THOUGH IT'S MADE OF BRASS OR HIGH-COPPER ALLOYS,

THE SAXOPHONE IS TECHNICALLY A WOODWIND INSTRUMENT.

THAT'S BECAUSE IT PRODUCES SOUND

BY VIBRATING A REED ATTACHED TO THE MOUTHPIECE.

THE PROCESS OF MAKING A SAXOPHONE

STARTS WITH A LONG BRASS OR COPPER SHEATH.

A HYDRAULIC PUNCH CUTS THE METAL INTO RECTANGLES.

AFTER TRACING A FLARED PATTERN ONTO ONE PIECE OF METAL,

A CRAFTSMAN ALIGNS THE PATTERN WITH THE PUNCH

TO CUT OUT THE PART.

THIS PART WILL NOW BE FORMED INTO THE SAXOPHONE'S BELL.

THE WORKER FOLDS IT AROUND THE METAL ROD

AND POUNDS IT WITH A WOODEN STICK

TO DO SOME INITIAL SHAPING.

THIS TAKES THE PART FROM FLAT TO THREE DIMENSIONAL.

AFTER THE SEAM HAS BEEN WELDED,

MORE HAMMERING ROUNDS THE SHAPE SUBSTANTIALLY

AND IMPROVES ON THE FLARE AT THE END.

NEXT, THE CRAFTSMAN REPEATEDLY POUNDS THE FLARE

TO FORM IT INTO A BELL.

HAND-HAMMERING SHAPES THE METAL

AND ALSO ALTERS THE PHYSICAL PROPERTIES

TO MAKE THE SOUND MORE RESONANT.

THROUGHOUT THE FORMING OF THE INSTRUMENT,

IT IS HEATED WITH A TORCH.

THIS MAKES THE METAL FLEXIBLE ENOUGH TO BE SHAPED.

NEXT, HE SLIDES THE BELL ONTO A FORM.

HE BRUSHES LUBRICANT ONTO THE METAL...

AND LOWERS A ROLLER.

THE FORM SPINS THE CURVED BELL AGAINST THE ROLLER,

WHICH SMOOTHES OUT DENTS AND FORCES THE BELL

TO CONFORM TO THE DIMENSIONS OF THE ROLLER.

THE ROLLED SAXOPHONE BELL IS THE ONE ON THE RIGHT.

IT'S DRAMATICALLY DIFFERENT.

NOW WE CAN SEE THE SAXOPHONE'S BODY TAKE SHAPE.

IT STARTS WITH THIS PIECE OF METAL THAT'S WIDER AT ONE END.

THE OPERATOR PLACES IT UNDER A CONE-SHAPED FORM.

USING HYDRAULICS, IT DESCENDS TO FOLD THE PART

AND IMPRINT THE CONE SHAPE ON THE METAL.

AFTER MORE FORMING,

ANOTHER WORKER WELDS THE SEAMS TO COMPLETE THE CONE.

THIS PART OF THE INSTRUMENT IS ALSO CALLED THE TUBE.

MEANWHILE, THE FORMING WORK ON THE SAXOPHONE BELL

HAS BEEN COMPLETED.

A WORKER LOCKS THE UPPER PART OF THE BELL INTO A MACHINE

AND TURNS THE PUNCH DEVICE TO CUT THE TONE HOLES.

SOUND WAVES WILL BE EMITTED THROUGH BOTH THE OPEN TONE HOLES

AND THE BELL'S FLARE.

LATER, ANOTHER WORKER AIMS A TORCH

AT THE SAXOPHONE BODY TO SOFTEN THE METAL,

SO THAT THE RIMS OF THE TONE HOLES CAN NOW BE FORMED.

HE SLIDES THE BODY ONTO A STEEL MANDREL WITH ROUND INSERTS.

HE ALIGNS THE TONE HOLES WITH HOLES ON THE MANDREL.

HE SETS A GUIDE RACK ON TOP, ALIGNING THE HOLES IN THE RACK

WITH THE HOLES IN THE INSTRUMENT.

HE INSERTS TOOLS THROUGH THE HOLES

AND THREADS THEM INTO THE ROUND INSERTS IN THE MANDREL.

A SUPPORT BRACKET PROPS UP THE TOOLS.

USING THE TOOLS, HE PULLS THE INSERTS THROUGH THE HOLES.

THIS FORMS A RIM AROUND EACH HOLE.

THE RAISED EDGING WILL ALLOW KEY CUPS

TO CLOSE THE TONE HOLES EFFECTIVELY.

THE CRAFTSMAN DRILLS THE RIMS TO SMOOTH AND LEVEL THEM.

THIS WILL PREVENT GAPS THAT COULD AFFECT THE SOUND

OF THE INSTRUMENT WHEN THE KEY CUPS CLOSE.

THE NEXT PART IS THE BOW,

WHICH WILL LINK THE SAXOPHONE BELL AND BODY.

THE CRAFTSMAN BRUSHES A CLEANING AGENT

KNOWN AS FLUX ONTO ONE END.

HE CONNECTS THE TWO PARTS

AND APPLIES MORE FLUX TO THE BELL WHERE IT MEETS THE BOW.

HE THEN MELTS SOLDER WHERE THE TWO PARTS COME TOGETHER,

COMPLETING THIS CRITICAL CONNECTION.

THE SOLDER MAKES THE JOINT AIRTIGHT.

HE TURNS OVER THE BELL AND BOW ASSEMBLY TO COMPLETE THE JOB,

ENSURING THAT THE SOLDER ENCOMPASSES THE ENTIRE JOINT.

HE DABS WATER ONTO THE SOLDERED JOINT TO COOL IT DOWN.

BUT BEFORE THIS SAXOPHONE IS READY TO MAKE MUSIC,

A FEW MORE STEPS MUST BE TAKEN FOR GOOD MEASURE.

Narrator: THE SAXOPHONE HAS TONAL QUALITIES

SIMILAR TO THOSE OF THE HUMAN VOICE.

ITS SOUND CAN RANGE FROM SULTRY, DARK TONES

TO HIGH-PITCHED EXUBERANCE.

IT'S NO WONDER THE SAXOPHONE HAS FOUND A PLACE

IN MANY MUSIC STYLES FROM JAZZ TO POP TO THE CLASSICS.

THE STANDARD SAXOPHONE HAS 23 DIFFERENT TONE HOLES

AND AN EQUAL NUMBER OF KEY CUPS TO CLOSE THEM.

AT THIS FACTORY, EACH KEY CUP IS ASSEMBLED BY HAND.

A CRAFTSMAN ARRANGES THE PARTS OF A KEY CUP IN A FIXTURE

TO POSITION THEM FOR SOLDERING.

HE INSERTS A ROD THAT WILL ACT AS AN ALIGNMENT

AND POSITIONING TOOL.

HE APPLIES FLUX TO CLEAN THE PART

AND MELTS SILVER SOLDER INTO THE CONNECTING POINTS.

TO PREVENT THE PARTS FROM SLIDING,

THE CRAFTSMAN USES PINCERS TO ADJUST THEIR POSITION.

OTHER KEYS ARE GROUPED TOGETHER ON A BRASS PLATE KNOWN AS A RIB.

HE SPACES THE KEY POSTS EVENLY ON A ROD

THAT SERVES AS AN ALIGNMENT TOOL.

SEVERAL OVERHEAD CLAMPS HOLD THE POSTS IN PLACE ON THE RIB.

HE APPLIES THE CHEMICAL CLEANER TO THE BASE OF THE POST

AND THE PLATE AROUND THEM.

SILVER SOLDER IS MELTED AROUND THE POST,

AND AS IT SOLIDIFIES, IT FUSES THEM TO THE PLATE.

NEXT, THE CRAFTSMAN REMOVES THE OVERHEAD CLAMP SYSTEM.

AFTER SLIDING KEYS ONTO THE ENDS OF THE ALIGNMENT ROD,

HE POSITIONS THE ASSEMBLY ON THE SAXOPHONE BODY.

HE CLOSES THE KEYS ONTO THE CORRESPONDING TONE HOLES

AND SOLDERS THE BASE PLATE

TO THE LOWER PART OF THE SAXOPHONE BODY.

HE BRUSHES WATER ONTO THE SOLDER

TO ACCELERATE THE COOLING AND SOLIDIFICATION.

HE THEN REMOVES THE ALIGNMENT ROD

AND UNCAPS THE TONE HOLES FOR NOW.

A CLEANING AGENT IS BRUSHED ONTO THE BACK OF A RIB

THAT SUPPORTS A SECOND GROUPING OF KEY POSTS.

HE SOLDERS THE RIB TO THE UPPER PART OF THE SAXOPHONE BODY

AND TAKES THE ALIGNMENT ROD OFF.

THE POSTS HAVE BEEN INSTALLED IN A SPECIFIC SEQUENCE

TO SUPPORT EXTENDING KEYS ON A HINGE ROD.

LATER, ANOTHER WORKER POLISHES THE BOW AND BELL ASSEMBLY

AGAINST A BUFFING WHEEL, WHICH POLISHES THE INSTRUMENT

TO REMOVE SMUDGES OR FINGERPRINTS

AND GIVE THE BRASS PARTS A MIRROR FINISH.

THEY DIP THE BRASS SAXOPHONE PARTS IN A BATH

WHERE SOUND WAVES HELP REMOVE RESIDUAL DIRT AND GREASE.

THERE'S ALSO A CHEMICAL PRIMER IN THE BATH

THAT WILL HELP A LACQUER BOND TO THE BRASS.

A TECHNICIAN SPRAYS THE LACQUER ONTO THE BRASS

TO PROTECT IT FROM CORROSION AND TARNISH.

FLORAL ARTWORK WILL ADD VISUAL FLAIR

TO THIS COPPER SAXOPHONE BELL.

THE COPPER HAS BEEN PAINTED BLACK TO MAKE THE ART STAND OUT.

THE ARTIST FOLLOWS THE STENCIL WITH AN ETCHING TOOL,

ROTATING IT USING A TWIRLING MOTION TECHNIQUE,

ETCHING IN FLUID MOVEMENTS.

HE DOESN'T STOP UNTIL HE'S COMPLETED A LINE

TO PREVENT ANY INCONSISTENCIES IN THE ENGRAVING.

AFTER HE COMPLETES THE PATTERN, HE DOES DETAIL WORK.

THIS EXPOSES THE COPPER METAL AND MAKES THE ART POP.

RETURNING TO THE BRASS SAXOPHONE NOW,

A TECHNICIAN SCREWS LONG HINGE RODS TO THE POSTS.

HE ATTACHES THE KEYS,

WHICH HAVE BEEN EQUIPPED WITH PADS IN THE CUPS.

A TINY SCREW SECURES THIS GROUPING OF KEYS.

HE TURNS THE SAXOPHONE OVER, INSERTS A LIGHT,

AND LOOKS FOR ESCAPING RAYS, MAKING ADJUSTMENTS IF NEEDED.

HE INSTALLS NEEDLE SPRINGS UNDER THE KEY RODS AND MAIN HINGE ROD.

THEY'LL ENABLE THE KEYS TO SPRING BACK

AFTER THEY'RE PRESSED.

HE TESTS THE SPRING ACTION AND, AGAIN, CHECKS FOR LIGHT LEAKS.

HE NOW FITS THE BELL BOW TO THE MAIN BODY.

THERE'S A CONNECTING RING THAT HOLDS THEM TOGETHER,

BUT HE'LL ALSO LOCK THEM IN PLACE WITH A SCREW.

FROM START TO FINISH,

IT TAKES ABOUT A MONTH TO CRAFT THIS SAXOPHONE.

WHETHER IT'S MADE OUT OF BASIC BRASS

OR SOMETHING A LITTLE SHOWIER, THE LOOK OF THE INSTRUMENT

CAN REFLECT THE SAXOPHONIST'S PLAYING STYLE,

BUT THE TONE OF THE INSTRUMENT DEFINES IT.