Original subtitles

Narrator: POORLY FITTED SHOES

CAN RUIN A RUNNER'S DAY.

THEY CAN COMPROMISE THE RUNNER'S GAIT AND LEAD TO INJURIES.

IT'S WHY CUSTOM-MADE RUNNING SHOES HAVE BECOME POPULAR.

TAILORED FOR ONE SPECIFIC PAIR OF FEET, THEY GIVE THE RUNNER

THE NECESSARY SUPPORT TO GO THE DISTANCE.

THANKS TO THE USE OF SYNTHETIC MATERIALS,

THE RUNNING SHOE IS MORE LIGHTWEIGHT AND FLEXIBLE

THAN EVER BEFORE.

CUSTOMIZING THESE SHOES TAKES THE CONCEPT ONE STEP FURTHER.

THEY START BY TAKING A PRECISE 3-D LASER SCAN OF EACH FOOT.

THEN THE RUNNER STEPS ONTO A DEVICE CALLED A PRESSURE PLATE.

RUBBER TIPPED PINS SPROUT UP AROUND THE FOOT.

THIS TECHNIQUE CREATES AN EXACT OUTLINE OF THE SOLE,

INCLUDING THE ARCH.

NEXT, A HIGH-PRESSURE WATER JET

CUTS THROUGH SYNTHETIC FABRIC LIKE A KNIFE.

A COMPUTER GUIDES THE CUTS,

FOLLOWING THE MEASUREMENTS FROM THE SCANS.

THE CUTOUTS WILL BE USED TO MAKE THE UPPER --

THAT'S THE PART OF THE SHOE THAT WRAPS AROUND

THE TOP OF THE FOOT.

A SEAMSTRESS SEWS TOGETHER THE CUTOUTS,

CREATING THE BASIC SHELL OF THE RUNNING SHOE'S UPPER.

UPPERS COME IN A VARIETY OF COLORS, AND WHEN A SHOE

IS CUSTOM ORDERED, THE ATHLETE CAN CHOOSE.

AFTER HOLES FOR THE LACES HAVE BEEN PUNCHED INTO THE UPPER PART

OF THE RUNNING SHOE, THE SEAMSTRESS STITCHES ON

STRIPES -- A TRADEMARK LOOK FOR THE COMPANY.

SHE SEWS THE TONGUE AND A FABRIC INNERSOLE TO THE UPPER,

USING ROUNDED STITCHING THAT WILL PREVENT FRAYING.

THE INNERSOLE JOINS THE TWO SIDES OF THE UPPER,

AND THIS CUSTOM RUNNING SHOE IS STARTING TO COME TOGETHER.

BUT THIS SHOE NEEDS SHAPE AND STRUCTURE

BEFORE IT'S READY TO POUND PAVEMENT.

SO, THE NEXT WORKER INSERTS A PLASTIC REPLICA

OF THE ATHLETE'S FOOT, CALLED A LAST, INTO THE SHOES.

SHE GLUES FABRIC TO THE HEEL OF EACH SHOE,

AND THEN POUNDS AND PRESSES IT TO ENSURE THE FABRIC ADHERES.

LEFT TO SIT FOR FIVE HOURS, THE SHOES CONFORM TO THE SHAPE

OF THE CUSTOM-MADE LASTS.

BUT IF THE MEASUREMENTS ARE EVEN SLIGHTLY OFF,

THEY'LL SCRAP THE SHOE AND START AGAIN.

IT'S TIME FOR THE FOAM MIDSOLES.

THE WORKERS CUT THE FOAM WITH DIES BASED ON

THE INDIVIDUAL'S FEET.

THE FOAM IS DUAL DENSITY FOR MAXIMUM PERFORMANCE.

HE SANDS EACH MIDSOLE, BEVELING THE TIPS.

THIS WILL MAKE FOR A SMOOTHER LANDING

WHEN THE FOOT HITS THE GROUND.

THE OUTSOLES ARE NEXT.

THE WORKER SCULPTS THESE TREADED RUBBER SOLES

ALONG THE SAME LINES AS THE MIDSOLES,

SO THEY'LL FIT TOGETHER PERFECTLY.

HE GLUES THE MID AND OUTER SOLES TOGETHER.

TO MAKE SURE THIS JOB REALLY STICKS,

THEY SQUEEZE THE TWO SOLES TOGETHER USING

A HYDRAULIC PRESS.

IN A CUSTOM SHOE, THE ATHLETE CAN ALSO CHOOSE THE TREAD.

A DEEPER TREAD IS MORE APPROPRIATE FOR TRAIL RUNNING,

AND A SHALLOWER ONE WILL GRIP PAVEMENT BETTER.

THE WORKER NOW GLUES THE BOTTOM OF THE SHOE TO THE TOP.

THE SOLE IS MADE A LITTLE LARGER THAN THE FABRIC UPPER,

WHICH ALLOWS HER TO FOLD IT AROUND THE UPPER

FOR A NEAT FINISH.

A MACHINE THEY CALL THE CLAW APPLIES PRESSURE TO ENHANCE

THE BONDING OF THE SOLE TO THE SHOE.

THEN THEY INSERT A MEMORY FOAM

INSOLE WHICH MELDS TO THE SHAPE OF THE FOOT.

THIS INSOLE IS ALSO BREATHABLE

AND HAS BEEN TREATED WITH AN ANTIBACTERIAL AGENT.

THE ATHLETE'S NAME ON THE HEEL IS THE FINAL PERSONAL TOUCH

FOR THESE CUSTOM RUNNING SHOES.

THEY'VE TAKEN ABOUT FIVE DAYS TO MAKE, BUT THEY'RE READY

FOR A MARATHON.

Narrator: EVER SINCE PRIMITIVE TIMES,

HUMANS HAVE BEEN USING AXES TO CHOP WOOD.

THE FIRST AXES WERE SIMPLE, SHARPENED STONES,

BUT WHEN A HANDLE WAS ADDED ABOUT 35,000 YEARS AGO,

IT INCREASED THE FORCE THAT COULD BE APPLIED

WITH EACH STRIKE, AND THAT GAVE THE AX MUCH GREATER IMPACT.

TODAY, THE AX HASN'T LOST ITS EDGE.

DESPITE THE PROLIFERATION OF MECHANIZED TOOLS,

IT OFFERS A LOW-TECH, HANDS-ON WAY TO GET THE JOB DONE.

A MODERN AX STARTS AS A CYLINDER OF HIGH-QUALITY STEEL.

A RAM NUDGES IT INTO AN INDUCTION FURNACE.

THE INTENSE HEAT MAKES THE STEEL WHITE HOT AND PLIABLE,

ALLOWING IT TO BE STRETCHED AND SHAPED.

A POWERFUL PRESS THEN POUNDS THE

STEEL INTO A SERIES OF DIES TO

FURTHER DEFINE THE AX PROFILE.

A CUTTER HEAD TRIMS THE EDGES.

OPERATORS NOW TRANSFER THE AX TO ANOTHER RAM,

WHICH PRESSES IT INTO A DIE TO STRAIGHTEN AND LEVEL IT.

THEN IT'S ON TO A REVOLVING RACK

FOR A HALF-HOUR TO COOL DOWN AND HARDEN,

JUST ENOUGH SO THEY CAN BE HANDLED.

A WORKER LOADS DOZENS OF THE AXES INTO A TUMBLER.

THEY ARE TOSSED ABOUT WITH TINY STEEL PELLETS,

AND THE RESULTING FRICTION RUBS SCALE FROM THE SURFACE

OF THE STEEL AND ALSO SMOOTHES THE EDGES.

THEN THIS WORKER PRESSES THE BACK OF THE AX HEAD

AGAINST A SANDING BELT TO BEVEL THE EDGES.

HE SANDS THE SIDES OF THE AX HEAD FOR A SMOOTH FINISH.

IN JUST SECONDS, HE SHARPENS BOTH SIDES OF THE CUTTING EDGE.

IT TAKES WELL-HONED SKILLS TO DO THIS WITH SUCH QUICK PRECISION.

HE THEN POLISHES THE NECK OF THE AX AGAINST A NARROWER,

FINER-GRIT SANDING BELT.

AND IT'S TIME FOR A DIP IN A SPECIAL SOLUTION,

HEATED TO 1,500 DEGREES FAHRENHEIT.

THEY THEN QUENCH THE RED-HOT

STEEL IN WARM OIL.

THE ABRUPT TEMPERATURE CHANGE HARDENS THE METAL

SO IT'S TOUGH ENOUGH FOR ANY WOOD-CHOPPING JOB.

AT THE NEXT STATION, A WORKER ASSEMBLES PREPUNCHED LEATHER

AND PLASTIC RINGS TO BUILD THE AX GRIP.

SHE PLACES THE BLACK-AND-WHITE PLASTIC RINGS AT EACH END

OF THE LEATHER PAD, TO GIVE THE GRIP A CUSTOMIZED LOOK.

THE RINGS GET PROGRESSIVELY SMALLER AS SHE TAPERS THE GRIP

TO FIT THE THROAT OF THE AX HANDLE.

IT TAKES ABOUT 36 OF THE LEATHER RINGS AND 6 PLASTIC ONES

TO MAKE ONE GRIP.

SHE TRANSFERS THE GRIP PACK TO AN ASSEMBLY PRESS...

AND INSERTS THE LOWER PART OF THE AX,

WHICH HAS BEEN LUBRICATED WITH BEES WAX,

INTO THE GRIP'S CENTER HOLES.

A HYDRAULIC RAM DRIVES IT THROUGH.

THE LUBRICATION ENSURES THIS JOB DOESN'T HIT ANY SNAGS.

SHE NOW FLATTENS METAL PRONGS AT THE BASE OF THE HANDLE

TO SECURE THE GRIP.

THE AXES ROTATE AS A LONG,

ABRASIVE BELT ROCKS AGAINST THE LEATHER.

IT SANDS THE GRIP TO MAKE THE LAYERS FLUSH.

A WORKER FINISHES OFF THE JOB

WITH A PARTICULARLY AGGRESSIVE SANDING.

HIS HANDIWORK MAKES THIS GRIP LOOK REALLY SMOOTH.

A DIP IN CLEAR LACQUER BRINGS OUT THE GRAIN OF THE VARIOUS

PIECES OF LEATHER, AND THEY APPEAR TO MERGE INTO ONE.

ONCE THE LACQUER DRIES, ANOTHER WORKER POLISHES THE EXPOSED

STEEL AGAINST A BELT WITH A VERY FINE GRIT.

THE RESULT IS A GLOSSY SHEEN THAT ENSURES THIS AX

WILL DEFINITELY LOOK GOOD ON THE JOB.

IT TAKES ABOUT TWO DAYS TO MAKE ONE OF THESE AXES,

BUT THEY'RE DESIGNED TO LAST A LIFETIME.

Narrator: KART RACING IS AN INTERNATIONAL MOTOR SPORT

THAT HAS A HUGE FOLLOWING, ESPECIALLY IN EUROPE.

THE KARTS LOOK A BIT LIKE MINIATURE FORMULA-ONE RACECARS

BUT HAVE NO SUSPENSION SYSTEM.

KART RACING CAN BE EVEN MORE EXCITING THAN F-1

BECAUSE OF THEIR SMALL SIZE AND INCREASED MANEUVERABILITY.

THIS ITALIAN-MADE RACING KART --

WITH ITS ONE-CYLINDER, 125cc ENGINE --

REACHES SPEEDS OF 110 MILES PER HOUR.

AN ALUMINUM CASE HOUSES ALL THE ENGINE COMPONENTS.

A COMPUTER-GUIDED DRILL

BORES VARIOUS HOLES FOR INSTALLING THEM.

FIRST IN -- THE ENGINE'S SIX STEEL GEARS.

EACH GEAR IS ACTUALLY COMPRISED OF SEVERAL GEARS.

THEY THREAD THEM ONTO A SHAFT.

THEN EVERYTHING GOES INTO THE GEAR BOX.

BEHIND THE GEARS GOES THE GEAR SHIFTER,

WHICH THE DRIVER OPERATES WITH A LEVER.

NEXT COMES THE DRIVE SHAFT.

IT TURNS A CHAIN THAT ROTATES THE AXLE

ON WHICH THE REAR WHEELS ARE MOUNTED.

ON THE OTHER SIDE OF THE ENGINE CASE,

THEY INSTALL THE DRIVE-SHAFT GEARS.

THESE ENSURE THE SHAFT ROTATES AT A STABLE AND CONTROLLED RATE.

THE RED MARKINGS HELP THE TECHNICIANS ALIGN THE GEARS.

THE CLUTCH COVER CLOSES UP THE GEAR BOX.

THE CLUTCH'S MAIN HOUSING, CALLED THE DRUM,

CONTAINS THE CLUTCH DISKS.

THESE DISKS TRANSMIT CRANKSHAFT MOTION TO THE GEAR BOX,

WHICH TURNS THE DRIVE SHAFT, WHICH MOVES THE CHAIN

THAT ROTATES THE REAR WHEELS.

THICK STEEL SPRINGS GRIP AND RELEASE THE CLUTCH DISKS.

THIS FLAP COMPONENT, CALLED THE LAMELI PACK,

CONTROLS HOW MUCH FUEL ENTERS THE ENGINE.

STEPPING ON THE ACCELERATION PEDAL CREATES A VACUUM

THAT OPENS THE FLAPS AND SUCKS IN MORE FUEL.

THE CYLINDER HOUSES THE PISTON

THAT ROTATES THE CRANK SHAFT.

THIS ENGINE HEAD SEALS THE CYLINDER IN WHICH

THE COMBUSTION CYCLE OCCURS.

THE IGNITION GOES ON THE LEFT SIDE OF THE ENGINE.

THE ENGINE IS NOW FINISHED AND READY FOR A BENCH TEST.

TECHNICIANS USE SPECIAL INSTRUMENTS TO MONITOR

AND CALIBRATE ITS PERFORMANCE.

THE RACING KART'S CHASSIS IS MADE OF STEEL TUBING.

AT THE BACK, THEY MOUNT BEARINGS TO HOLD THE REAR AXLE.

THEN THEY MOUNT THE AXLE ITSELF AND ON IT -- BRAKE DISKS.

THEY ATTACH BRAKE CALIPERS TO THE CHASSIS.

UNDER BRAKING, THEY SQUEEZE THE DISKS TO STOP THE WHEELS

FROM TURNING.

AFTER MEASURING AGAIN, TO ENSURE THE REAR AXLE IS

PERFECTLY CENTERED, THEY LOCK IT INTO POSITION

IN A WAY THAT ENABLES IT TO ROTATE, OF COURSE.

NOW FOR THE STEERING SYSTEM.

AT THE FRONT OF THE CHASSIS,

TECHNICIANS MOUNT A SPINDLE ON EACH SIDE.

THE SPINDLES TURN THE KART'S FRONT WHEELS.

ONCE TECHNICIANS FASTEN THE STEERING COLUMN UP TOP,

THEY CONNECT TIE RODS TO THE SPINDLES.

TIE RODS TRANSMIT THE ROTATION OF THE STEERING COLUMN,

VIA THE SPINDLES, TO THE FRONT WHEELS.

NEXT, TECHNICIANS MOUNT TWO SPRING-LOADED PEDALS

IN FRONT OF THE CHASSIS.

THE BRAKE SYSTEM IS HYDRAULIC,

MEANING THAT PRESSURIZED FLUID ACTIVATES THE CALIPERS

TO GRAB OR RELEASE THE BRAKE DISKS.

NEXT COME THE WHEEL HUMPS ON WHICH THE TIRE RIMS GO.

THEN THE ENGINE...

FOLLOWED BY THE TIRES...

AND A FIBERGLASS DRIVER'S SEAT,

WHICH, DUE TO THE LACK OF SUSPENSION,

LETS THE DRIVER FEEL EVERY INCH OF THE TRACK.

FINALLY -- THE STEERING WHEEL AND A DATA RECORDING DEVICE

THAT TRACKS EVERYTHING FROM SPEED AND LAP TIME

TO TIRE AND EXHAUST TEMPERATURES.

Narrator: ANIMATRONICS IS THE CONSTRUCTION OF ROBOTIC PUPPETS

THAT MOVE IN A LIFELIKE WAY.

YOU OFTEN SEE ANIMATRONIC

CHARACTERS IN SCIENCE-FICTION MOVIES,

AS WELL AS THEME PARKS AND CARNIVALS.

PLEASE BE ADVISED THAT THIS SEGMENT CONTAINS

IMAGES WHICH MAY NOT BE SUITABLE FOR YOUNGER VIEWERS.

WHEN IT COMES TO THE HORROR GENRE, THE MORE GRUESOME

THE ANIMATRONIC CHARACTER, THE BETTER.

MEET CRAZY KRISTEN.

SHE STARTS OUT AS A HUNK OF CLAY.

HER CREATOR SCULPTS HER FORM ON A VERTICAL TABLE.

ONCE HE FINISHES HER SHAPE, HE SWITCHES TO FINER TOOLS

TO CRAFT HER GORY FEATURES.

HE USES WATER AND A SPONGE TO GIVE HER SKIN REALISTIC TEXTURE.

ONCE THE CLAY IS HARDENED, THEY LAY CRAZY KRISTEN

ON HER BACK AND DROWN HER IN GYPSUM PLASTER.

IN AN HOUR OR SO, THE PLASTER SETS,

AND THEY REMOVE THE SCULPTURE, CREATING A MOLD

FROM WHICH THEY'LL PRODUCE MULTIPLE CRAZY KRISTENS.

THE MOLD IS QUITE HEAVY, SO FOR EASIER HANDLING,

THEY SEVER THE BODY IN TWO.

THEN THEY'LL FILL EACH MOLD CAVITY WITH LIQUID LATEX RUBBER.

A THREE-MILLIMETER SKIN SOON HARDENS

AGAINST THE MOLD CAVITY WALL.

THEY SUCTION OUT THE REMAINING LIQUID LATEX.

MEANWHILE, THEY WELD TOGETHER A STEEL SKELETON,

A GRATE FOR HER RIB CAGE, A STRIP FOR HER SPINE,

CHAINS FOR HER ARM BONES, BALL BEARINGS FOR HER JOINTS,

AND STEEL REINFORCED RUBBER FOR HER NECK.

SO FAR, CRAZY KRISTEN HAS SKIN AND BONES.

NOW SHE NEEDS FLESH.

THEY FILL EACH MOLD CAVITY WITH EXPANDING POLYURETHANE FOAM.

TO CONTROL THE EXPANSION, THEY COVER THE TOP

WITH A PLASTIC SHEET AND GUIDE THE FOAM

WITH THEIR HANDS.

THE LOWER BODY DOESN'T REQUIRE AN INNER SUPPORT STRUCTURE

BECAUSE IT'S IMMOBILE --

JUST STEEL CHAINS IN THE LEGS TO HOLD THEM IN PLACE.

ONCE THE FOAM HARDENS, IT'S SAFE TO EXTRACT

CRAZY KRISTEN'S BODY FROM THE MOLDS.

THEY TRIM OFF EXCESS LATEX ALONG THE PERIMETER.

THEN SIT HER UPPER BODY ON A LARGE SWIVELING

BALL BEARING MOUNTED ON A VERTICAL METAL BASE.

THEY INSERT A PAIR OF RODS THROUGH HOLES IN THE BASE.

EACH ROD IS BOLTED TO A PLATE SITTING ON THOSE BALL BEARING

JOINTS IN HER SKELETON.

THE OTHER END GETS WELDED TO THE BASE.

THESE CYLINDERS ARE PNEUMATIC,

MEANING AIR PRESSURE OPENS AND CLOSES THEM,

MAKING CRAZY KRISTEN THRASH ABOUT.

IT'S ALL CONTROLLED BY THIS DIGITAL DEVICE

THEY MOUNT ON A GUITAR AMPLIFIER.

IT SENDS ELECTRIC PULSES THAT CONTROL THE PNEUMATIC CYLINDERS.

AN ACTRESS RECORDS THE ACCOMPANYING SHRIEKS AND MOANS.

THEY TRANSFER THE SOUNDTRACK TO THE DIGITAL CONTROL BOX.

THE BOX TRIGGERS THE SOUND EFFECTS,

ALONG WITH THE MOVEMENT.

IT'S TIME TO APPLY CRAZY KRISTEN'S MAKEUP.

FOR HER SKIN COLORS, THEY USE A HALF-AND-HALF MIXTURE

OF HOUSE PAINT AND LIQUID LATEX RUBBER.

FOR HER EYEBALLS, THEY USE OFF-WHITE OPAQUE INK.

THEN THEY AIRBRUSH THE IRIS...

AND PAINT IN THE PUPIL WITH THE STICK END OF A SMALL BRUSH...

A FEW VEINS WITH A RED PEN...

AIRBRUSHED INK ON HER MOUTHGUARD...

AND FINALLY CLEAR EPOXY OVER HER EYEBALLS,

TO MAKE THEM GLASSY.

THEY TOP HER OFF WITH A WIG,

MOUNT HER LOWER BODY TO THE BASE,

THEN COMPLETE HER LOOK WITH A STRAITJACKET,

BECAUSE CRAZY KRISTEN'S HOME IS THE INSANE ASYLUM.

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