All language subtitles for How.Its.Made.S20E07.Prams.and.Bicycle.Tires.1080p.AMZN.WEB-DL.DDP2.0.H.264-SLAG_track4_[eng]

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Narrator: WHEN IT COMES
TO CHOOSING BABY'S VEHICLE,

AS WITH ANY SET OF WHEELS,
THERE'S NO SHORTAGE OF CHOICES.

SOME PARENTS PREFER
SPORTY MODELS,

WHILE OTHERS OPT FOR THE
ELEGANCE OF A CLASSIC CARRIAGE.

EITHER WAY,
IT'S A STYLISH EXPERIENCE

BABY WILL LIKELY SLEEP THROUGH.

THE CLASSIC PERAMBULATOR,
OR "PRAM" FOR SHORT.

WHILE THIS STYLE
OF BABY CARRIAGE

IS UNMISTAKABLY BRITISH,

THIS PARTICULAR BRAND
IS ITALIAN-MADE.

PRODUCTION BEGINS
WITH THIS MACHINE,

WHICH BENDS STEEL TUBING
TO FORM THE PRAM'S HANDLE.

THE MACHINE'S EVERY MOVE
IS COMPUTER-GUIDED

FOR ACCURACY AND CONSISTENCY
FROM PRAM TO PRAM.

ONCE FORMED,
THE HANDLE IS CHROME-PLATED.

THEY CONSTRUCT
THE BASE OF THE PRAM'S FRAME

OUT OF STEEL BLADE.

AN AUTOMATIC FEEDER
PULLS THE BLADE

OFF THE ROLL
INTO A STAMPING MACHINE.

THE MACHINE'S DIE CUTS
21"-LONG PIECES

WITH ROUNDED ENDS.

A PRESS THEN
BENDS EACH PIECE TWICE,

FORMING IT TO THE FINAL SHAPE.

TO ASSEMBLE THE BASE,
WORKERS ALIGN THE PIECES

IN THE CORRECT CONFIGURATION
WITH THE HELP OF A TEMPLATE.

THEY ADD TWO STEEL RODS
FOR THE FRONT AND REAR AXLES,

THEN WELD EVERYTHING TOGETHER.

THE BASE THEN GOES OFF
TO BE PLATED WITH CHROME.

WHEN IT RETURNS, FOLLOWING
SOME MINOR ASSEMBLY STEPS,

THE FULL FRAME ASSEMBLY BEGINS.

WORKERS MOUNT TWO LARGE
OVAL, STEEL SPRINGS ON THE BASE,

SECURING THEM
WITH PIVOTING HINGES.

FOLD FLAT FOR EASY TRANSPORT.

THEY HAMMER A RIVET
INTO EACH HINGE...

...THEN, USING CLAMPS,
LOCK IT IN.

THE PRAM HAS A CARGO BASKET

MADE OF CHROME-PLATED,
WELDED, STEEL MESH.

IT HOOKS ONTO THE FRAME BASE.

THE PRAM'S HANDLE, MEANWHILE,
HAS ACQUIRED A GRIP

MADE OF CHROME-PLATED STEEL
AND GENUINE LEATHER.

THEY ATTACH THE HANDLE
TO THE FRAME

WITH A PLASTIC, PIVOTING HINGE

WHICH ENABLES THE HANDLE
TO FOLD DOWN FLAT FOR TRANSPORT.

A SPRING LOCKING DEVICE

SECURES THE CHROME-PLATED WHEELS
TO THE AXLES.

A FOOT LEVER
AT THE REAR OF THE FRAME

ACTIVATES THE BRAKE
ON BOTH REAR WHEELS.

THE PRAM BODY HAS
AN UPHOLSTERED COVERING.

THEY MAKE IT BY LAYERING

A RUGGED POLYESTER FABRIC
OVER SOFT POLYESTER BATTING,

THEN FUSING THE TWO MATERIALS
ALONG THE PERIMETER

WITH HEAT GENERATED BY A
HIGH-FREQUENCY WELDING MACHINE.

THIS UPHOLSTERED COVERING IS
MADE UP OF THREE SECTIONS.

AFTER TRIMMING OFF
THE EXCESS FABRIC,

A SEAMSTRESS STITCHES
THE THREE SECTIONS TOGETHER,

THEN SHE LINES THE INTERIOR
WITH COTTON,

A BREATHABLE FABRIC
THAT'S SOFT AGAINST BABY SKIN.

THE BODY STRUCTURE IS MADE
OF PLYWOOD SIDES,

POPLAR BOTTOM SUPPORTS,
AND STURDY FIBERBOARD ENDS.

AFTER CUSHIONING
THE SIDES AND EDGES

WITH POLYESTER BATTING,

THEY DRESS THE BODY
WITH THE UPHOLSTERED COVERING

AND LAY IN A COTTON MATTRESS.

AFTER INSTALLING
METAL CARRY HANDLES,

THEY AFFIX THE PRAM'S CANOPY,

DRIVING THE SCREWS
THROUGH THE UPHOLSTERY

INTO PRE-DRILLED HOLES
IN THE PLYWOOD'S STRUCTURE.

THE CANOPY IS MADE

OF WATER-RESISTANT
LAMINATED POLYESTER

SEWN OVER A FRAME OF STEEL RIBS.

THE RIBS ARE HINGED,

ENABLING THE CANOPY TO BE OPENED
AND LOCKED OR COLLAPSED.

THE SNAP-ON,
UPHOLSTERED FRONT COVER,

LIKE THE CANOPY, IS MADE
OF LAMINATED POLYESTER

TO PROTECT BABY
FROM RAIN AND COLD.

METAL PINS UNDERNEATH THE BODY
FIT INTO SLOTS ON THE FRAME,

LOCKING IT SECURELY
WITH A LEVER.

FOR QUALITY CONTROL,

THE FACTORY REGULARLY TESTS
RANDOM SAMPLES,

PUTTING THEM THROUGH 100 HOURS
OF SIMULATED BUMPY ROAD

AT A SPEED
OF THREE MILES AN HOUR.

THE PRAM MUST SURVIVE THIS
NOT VERY BABY-FRIENDLY JOURNEY

WITH NOTHING BEYOND
NORMAL WEAR AND TEAR.

Narrator:
DOCUMENTS SAY A TWO-STORY,
PANELIZED-FRAME DWELLING

WAS SHIPPED FROM ENGLAND
TO THE U.S. IN 1764,

BUT PERHAPS THE FIRST REAL
PREDECESSORS OF MODULAR HOMES

WERE SOLD FROM CATALOGUES
IN THE EARLY 1900s.

THESE KIT HOMES EVENTUALLY LED

TO HOUSES BUILT
IN A FACTORY SETTING.

NOT ONLY DO FACTORY-BUILT HOMES
COST LESS,

THEY TEND TO BE MUCH MORE
ENERGY-EFFICIENT AND VERSATILE.

THEY ARE QUICK TO BUILD

AND OFFER A VARIETY
OF SPACE OPTIONS

WITH ALL THE COMFORTS
AND CONVENIENCES

OF CONVENTIONAL HOUSES.

THEY PROVIDE EASE OF LIVING

AND EASE OF CONSTRUCTION,
AS WELL.

IN THE FACTORY,
A WORKER WELDS THE STEEL PIECES

THAT MAKE UP
THE UNDERCARRIAGE CHASSIS.

ITS LENGTH DEPENDS ON
THE DEMANDS OF THE CUSTOMER.

WORKERS MOVE
THE COMPLETED CHASSIS

TO THE NEXT PART OF THE FACTORY.

THEY PULL A LAYER
OF POLYETHYLENE

OVER THE LENGTH OF THE CHASSIS

AND ROLL A BLANKET
OF FIBERGLASS INSULATION ON TOP.

FRAMING FOR THE HOME'S SUBFLOOR
IS IN PLACE,

ALONG WITH WATERLINES
AND HEATING DUCTS.

AN ASSEMBLER
NAILS THE FRAMING JOIST

TO A PERIMETER RAIL.

THEY APPLY GLUE
TO THE FLOOR JOISTS

AND COVER THE FLOOR FRAMING WITH
COMPOSITE WOOD FLOOR DECKING.

THE ASSEMBLERS
NAIL THE DECKING INTO PLACE.

A WORKER GLUES VINYL TILES
ONTO THE DECKING.

FLOORING COMES IN
A VARIETY OF MATERIALS,

INCLUDING MARBLE, CERAMIC TILE,
CARPET, LAMINATE, AND WOOD.

IN ANOTHER PART OF THE FACTORY,

FRAMERS ARE WORKING ON
THE HOME'S INTERIOR WALLS.

BUILDING THEM ON TABLES

TENDS TO MAKE THEM
STRAIGHTER AND STRONGER

THAN WALLS THAT ARE BUILT
STANDING UPRIGHT.

WORKERS FILL THESE
EXTERIOR WALLS WITH INSULATION.

THE EFFICIENCY OF THE INSULATION

DEPENDS ON THE CLIMATE IN WHICH
THE HOME WILL BE INSTALLED.

WORKERS APPLY ADHESIVE
TO THE STUDS.

THEY POSITION INTERIOR PANELING
AND STAPLE IT INTO PLACE.

THIS IS
THE FACTORY'S CABINET SHOP.

THESE SPECIALIZED CABINET MAKERS

USE A WIDE VARIETY
OF MATERIALS AND STYLES

TO CREATE BATHROOM
AND KITCHEN CABINETS,

SUCH AS THIS DOUBLE-SINK
GALLEY CABINET.

WORKERS BEGIN PUTTING CABINETS
ON THE FLOOR OF THE HOME.

IN FACTORY-BUILT HOMES,
CABINETS ARE INSTALLED

BEFORE EXTERIOR AND PARTITION
WALLS HAVE BEEN PUT IN PLACE,

MAKING THE JOB A LOT EASIER
AND MORE PRECISE.

ONCE THE CABINETS
AND INTERIOR WALLS ARE DONE,

WORKERS INSTALL EXTERIOR WALLS.

THEY ADD THIS WALL
WITH THE HELP OF A CRANE.

THE WALL FITS
PRECISELY INTO PLACE.

BOTH THE WALL AND INTERIOR FRAME
ARE PRE-CAULKED,

AND WHEN THEY MEET,
THEY FORM AN AIRTIGHT SEAL.

WORKERS MOVE THIS SECTION TO
THE NEXT STATION IN THE FACTORY.

USING A CRANE, THEY LOWER
THE CEILING SYSTEM INTO PLACE.

THE CEILING SYSTEM IS
ALL ONE PIECE.

WORKERS LOWER IT CAREFULLY,

MAKING SURE THE CEILING LINES UP
PRECISELY WITH THE WALLS BELOW.

ALL THE WALLS ARE PRE-CAULKED,

AND ONCE THEY SET THE CEILING
DOWN, IT'S COMPLETELY SEALED,

ADDING TO THE HOME'S
ENERGY EFFICIENCY.

WORKERS BLOW
CELLULOSE INSULATION

INTO THE ATTIC CAVITY
TO FORM A THERMAL BARRIER.

BEFORE ADDING
THE EXTERIOR ROOF COVERING,

SPECIALIZED ROOFERS PUT
WOOD DECKING OVER THE TRUSSES

AND STAPLE IT INTO PLACE.

PVC PIPING IS USED TO DRAIN

THE HOME'S WASTE WATER
AND SEWER LINES.

ASSEMBLERS NOW INSTALL LAP
SIDING OVER A MOISTURE BARRIER.

SIDINGS CAN BE COMPOSITE,
VINYL, CEMENT, OR WOOD

WITH DIFFERENT FINISHES.

THIS CEMENT BOARD IS IMPERVIOUS
TO BUGS AND WON'T ROT.

A DRYWALL FINISHER IS INSIDE,

TAPING AND TEXTURING
THE GYPSUM WALLBOARD

AND APPLYING PLASTER
TO WALLS AND CEILINGS.

THIS PARTICULAR HOME IS
READY FOR OFF-GRID USE.

SOLAR PANELS ON THE ROOF
CHARGE BATTERIES BY DAY.

THE BATTERIES STORE POWER
FOR USE AT NIGHT.

THIS SINGLE-MODULE COTTAGE,
LIKE MOST FACTORY-BUILT HOMES,

CAN BE TRANSPORTED AND DELIVERED
ANYWHERE IN THE WORLD.

COMFORTABLE, AFFORDABLE,
AND ENERGY-EFFICIENT,

FACTORY-BUILT HOUSES
HAVE REDEFINED THE DREAM HOME.

Narrator:
THE WOOD FLUTE IS ONE OF
THE OLDEST MUSICAL INSTRUMENTS.

EVERY CULTURE HAD A VERSION,
BUT THE NATIVE AMERICAN ONE HAS

A PARTICULARLY SOULFUL SOUND
AND A VERY ROMANTIC PAST.

FOR CENTURIES,

NATIVE MEN PLAYED THE FLUTE
TO COURT THEIR BELOVED,

AND IT BECAME KNOWN
AS THE COURTING FLUTE.

[ FLUTE PLAYING ]

TODAY, THE COURTING FLUTE
COURTS A WIDER FOLLOWING.

ITS APPEAL REACHES
BEYOND THE NATIVE COMMUNITY.

WITH TWO CHAMBERS INSTEAD OF ONE
AND A BLOCK-WHISTLE MECHANISM,

THE NATIVE AMERICAN FLUTE
IS UNIQUE.

IT TAKES LESS SKILL AND EFFORT
TO PLAY IT,

AND THE TRANQUIL TONES
OFFER RELIEF

FROM THE DIN
OF THE MODERN WORLD.

TO MAKE ONE, A NATIVE CRAFTSMAN

CLEANLY SPLITS A PIECE OF CEDAR
WITH A TABLE SAW.

NO NEED TO CRAFT IT
ENTIRELY BY HAND

WHEN THERE ARE NOW
MECHANIZED WOODWORKING TOOLS.

WITH A ROUTER,
HE CARVES A HOLLOW IN ONE END.

IT WILL BE HALF
OF THE FLUTE'S SLOW AIR CHAMBER,

WHICH IS THE FIRST CHAMBER
TO RECEIVE BREATH.

HE NOW SHAPES
THE MUCH LONGER SOUND CHAMBER.

IT'S THE ONE THAT
SETS THE PITCH OF THE NOTES.

AFTER ROUTERING CORRESPONDING
HOLLOWS IN THE OTHER CEDAR HALF,

HE APPLIES GLUE
AND SPREADS IT EVENLY.

A CONSISTENT APPLICATION
IS CRUCIAL.

ANY GAPS
AND THE FLUTE WON'T WORK.

ME MATCHES UP THE PIECES

AND CLAMPS THEM
FOR A SOLID SEAL.

THE CLAMPS
SQUEEZE OUT SOME GLUE,

SO HE WIPES IT AWAY QUICKLY
BEFORE IT DRIES.

HE CLEANS UP THE INSIDE

WITH SANDPAPER WRAPPED AROUND
THE END OF A SPINNING METAL ROD.

ONCE THE ASSEMBLY DRIES,
HE BUILDS THE MOUTHPIECE,

USING A BRAND OF DARK
AFRICAN WOOD FOR CONTRAST

AND THEN A THICK CHUNK
OF MYRTLEWOOD.

MYRTLEWOOD IS
FINELY-GRAINED AND HARD,

SO IT WILL HOLD UP TO HEAVY USE.

HE DRILLS INTO THE WOOD
TO CARVE OUT THE MOUTHPIECE

AND BREAKS THROUGH
TO THE SLOW AIR CHAMBER.

IT'S TIME FOR A SPIN
IN THE LATHE.

THE CRAFTSMAN TURNS A WHEEL

TO MOVE A CHAIN-DRIVEN ROUTER
ALONG THE SPINNING WOOD.

IT SHAVES THE WOOD A LITTLE
WITH EACH PASS

TO TAKE IT FROM SQUARE TO ROUND.

HE MILLS THE FLUTE
BETWEEN THE TWO CHAMBERS

TO CREATE THE NEST,

A FLAT AREA WITH HOLES
UPON WHICH THE BLOCK WILL REST.

IT'S THROUGH THIS AREA

THAT AIR PASSES
FROM ONE CHAMBER TO THE OTHER.

HE CUTS OFF SPLINTERS THAT COULD
RUIN THE SOUND OF THE FLUTE.

HE BUILDS UP THE NEST AREA

WITH A PRECISELY-SHAPED
FLAT PIECE OF WOOD.

HE BORES THROUGH IT
INTO THE NEST HOLE

TO REOPEN IT
AND GIVE IT ITS FINAL SHAPE.

HE CARVES A RAMP
TO COMPRESS AND SPEED UP AIR

AS IT PASSES FROM
THE FIRST CHAMBER TO THE SECOND.

HE DRILLS
THE SMALLER SOUND HOLE.

AFTER HE FILES THE SOUND HOLE
TO A RECTANGULAR SHAPE,

HE POSITIONS THE BLOCK
OVER THE NEST.

IT'S THIS WOOD BLOCK
THAT CREATES

THE CLEAR WHISTLE TONE
OF THE FLUTE.

THE LENGTH OF THE TUBE

DETERMINES THE PITCH
OF THE INSTRUMENT.

HE BLOWS INTO THE FLUTE

AND CHECKS THE DIAL
OF THE DIGITAL TUNER.

THE KEY IS A BIT TOO LOW,
SO HE CUTS THE END

TO TAKE IT UP TO "G"
ON THE SCALE.

SATISFIED WITH THE PITCH,
HE DRILLS SIX FINGER HOLES.

HE SPACES THEM
IN A PRECISE CONFIGURATION.

THE SIZE OF THE HOLES
VARY SLIGHTLY

TO HELP CREATE
THE DESIRED NOTES.

HE FILES THE EDGES
OF THE FINGER HOLES ON AN ANGLE

TO BRING THE NOTES INTO TUNE.

HE TESTS THE FLUTE AGAIN.

IT'S IN THE CORRECT RANGE --
NO TWEAKING NEEDED.

HE NOW TAPERS THE MOUTHPIECE
USING A BELT SANDER.

HE USES A FAIRLY ROUGH GRIT

TO TRANSFORM
THE CYLINDRICAL MOUTHPIECE

INTO A CONE SHAPE
THAT'S EASIER ON THE LIPS.

HE SCRUTINIZES
THE NEWLY-SCULPTED MOUTHPIECE

AND CONFIRMS
THAT THE SHAPE IS RIGHT.

HE SIGNS AND NUMBERS IT
WITH A WOOD-BURNING TOOL.

FINALLY, HE COATS
THIS NATIVE AMERICAN FLUTE

WITH PROTECTIVE ACRYLIC.

USING MODERN
WOODWORKING TECHNIQUES,

A CENTURIES-OLD MUSICAL
INSTRUMENT HAS BEEN UPDATED

AND IT'S NOW READY TO ENTERTAIN.

Narrator: IN THE FIRST HALF
OF THE 18th CENTURY,

BIKE TIRES WERE MADE OF WOOD,
THEN METAL,

AND AFTER THAT, SOLID RUBBER.

FINALLY, IN 1888,

A SCOTTISH VETERINARIAN
NAMED JOHN DUNLOP

DEVELOPED
AN AIR-FILLED RUBBER TIRE

TO GIVE HIS SON'S TRICYCLE
A SMOOTHER RIDE.

THE AIR-FILLED BICYCLE TIRE

CONTINUES TO BE
THE HOTTEST THING ON TWO WHEELS,

BUT A MODERN SPIN ON THE CONCEPT
TAKES IT INTO THE 21st CENTURY.

COMPUTER DESIGNED

FOR MINIMAL ROAD RESISTANCE
AND AERODYNAMICS,

THE INFLATABLE BIKE TIRE HAS HAD
A MAJOR UPDATE.

ADDITIVES SUCH AS MINERAL OIL,
SULFUR, AND CARBON BLACK

MAKE THE TIRE
MORE ELASTIC AND DURABLE,

AND THEY USE A COMBINATION

OF NATURAL, SYNTHETIC,
AND RECYCLED RUBBER.

THEY WEIGH AND BAG IT

AND SEND IT INTO
AN ENORMOUS HOT MIXER.

THE WHITE BLOCKS
ARE THE SYNTHETIC STUFF.

OTHER INGREDIENTS INCLUDE
ANTI-AGING AGENTS.

DURING THE MIXING,
A CHEMICAL REACTION

CAUSES THE PLASTIC BAGS
TO DISINTEGRATE,

LEAVING ONLY
THE DESIRED ELEMENTS.

THE COMPONENTS MELT
INTO A RUBBERY DOUGH,

AND ROLLERS SQUEEZE IT
INTO THICK SHEETS.

THIS RUBBER SHEET WILL NOW
BE USED TO MAKE THE TIRE,

BEGINNING WITH THE TREAD.

NARROWER STRIPS
ENTER AN EXTRUDER.

IT HEATS THE RUBBER
TO SOFTEN IT

AND TAKES IT THROUGH A DIE

TO FORM A STRATEGIC PROFILE
FOR THE BIKE-TIRE TREAD,

LEAVING IT THICKER IN THE CENTER
AND THINNER ALONG THE EDGES.

THE TIRE-TREAD RUBBER

NOW TAKES A LONG COOL DIP
IN A TUB OF WATER.

THIS SOLIDIFIES IT,
SETTING THE PROFILE SHAPE.

AN AUTOMATED SPOOL WINDS IT UP

WITH A FABRIC SEPARATOR
BETWEEN THE RUBBER LAYERS

TO KEEP THEM
FROM STICKING TOGETHER.

IN THE MEANTIME,
RUBBER FOR THE BIKE-TIRE CASING

HAS BEEN REINFORCED
WITH NYLON MESH.

THIS CASING RUBBER
NOW ENTERS A CUTTING STATION.

BLADES SLICE THE CASING RUBBER
INTO STRIPS

THAT ARE THE CORRECT WIDTH
FOR BUILDING BICYCLE TIRES.

IT WILL TAKE SEVERAL
TO BUILD ONE TIRE.

AN EMPLOYEE PIECES ALL THE
STRIPS TOGETHER FOR PRODUCTION.

HE WINDS THE ASSEMBLED STRIPS
OF CASING RUBBER

ONTO FABRIC BACKING.

NEATLY ROLLED ONTO SPOOLS,

THE RUBBER CAN BE STORED
UNTIL THE TIRE ASSEMBLY.

AND THEY'RE READY TO ROLL.

AN EMPLOYEE WINDS
THE NYLON-REINFORCED RUBBER

AROUND A METAL DRUM.

SHE THEN APPLIES
TWO STRONG, KEVLAR THREADS

FOR THE TIRE BEADS.

THE BEADS WILL HOLD THE TIRE
TO THE WHEEL RIM.

ONCE IN PLACE,

DEVICES FOLD THE RUBBER
AT THE SIDES OVER THE BEADS.

SHE THEN WRAPS A KEVLAR STRIP
AROUND THE TIRE CASING.

THIS IS FOR PUNCTURE PROTECTION.

A MACHINE NOW ROLLS THE TREAD
RUBBER ONTO THE KEVLAR STRIP.

WITH ALL THE LAYERS
OF THE BIKE TIRE IN PLACE,

SHE REMOVES IT FROM THE DRUM.

THEN IT'S OVER
TO THE BRANDING STATION.

THIS WORKER ARRANGES LABELS
ON THE TIRE RUBBER

AND BONDS THEM TO IT
WITH HOT METAL PLATES.

THE NEXT EMPLOYEE
PLACES THE TIRE RUBBER

IN A CLAMSHELL-LIKE MOLD.

THIS MOLD CONTAINS
A LARGE BALLOON, OR BLADDER.

THEY PUMP STEAM
INTO THE BALLOON,

CAUSING IT TO PRESS THE RUBBER
AGAINST THE SIDES OF THE MOLD.

THIS SHAPES THE TIRE,
INCLUDING THE TREAD,

AND FUSES
ALL THE LAYERS TOGETHER.

IT ALSO TRANSFORMS THE TIRE
FROM LIMP TO RIGID

IN A PROCESS KNOWN
AS VULCANIZATION,

AND IT'S QUITE A TRANSFORMATION.

THIS IS THE TIRE
BEFORE VULCANIZATION,

AND THIS IS THE TIRE AFTER.

ONE TIRE FROM THE BATCH
UNDERGOES A GAMUT OF TESTS.

THIS ONE SIMULATES ROAD WEAR.

THE TIRE SPINS AGAINST A METAL
WHEEL UNTIL IT GOES BALD,

USUALLY AFTER SEVERAL
THOUSAND MILES OF SPINNING.

THIS CONFIRMS THAT THE TIRES
FROM THIS PRODUCTION RUN

ARE LONG-WEARING
AND CAN GO THE DISTANCE.

THEY ALSO TEST

FOR PUNCTURE RESISTANCE
AND PRESSURIZATION.

IF THE BICYCLE TIRE
PASSES ALL THE TESTS,

THIS BATCH IS READY
TO TEST HUMAN ENDURANCE.

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ABOUT THE SHOW,

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