All language subtitles for How Its Made S24E08 Gas Barbecues 1080p AMZN WEB-DL DDP2 0 H 264-SLAG_track4_[eng]

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Narrator:
GAS BARBECUES

WERE INVENTED IN THE 1960s
BY AN ARKANSAS GAS COMPANY.

THEY REDESIGNED A CHARCOAL GRILL
TO RUN ON BOTTLED PROPANE.

PEOPLE WERE DRAWN
TO THE INSTANT FLAME,

AND THE GAS BARBECUE
BECAME A HOT COMMODITY.

GAS BARBECUES RUN FROM BASIC
TO EXTREMELY HIGH-END.

THERE'S NO FUSSING
WITH CHARCOAL BRIQUETTES.

YOU JUST
PRESS THE STARTER BUTTON

AND ADJUST THE FLAME
TO THE DESIRED INTENSITY.

THEN CLOSE THE LID,
AND YOU'RE COOKING WITH GAS.

MAKING A GAS BARBECUE
BEGINS WITH A LASER.

IT CUTS HOLES FOR SCREWS, KNOBS,

AND PIPING INTO A SHEET
OF HIGH-GAUGE STEEL.

IT WILL TAKE
APPROXIMATELY 50 STEEL SHEETS

TO MAKE THE ENTIRE GAS BARBECUE.

THIS SHEET WILL BE USED
FOR THE GRILL'S FRONT HOOD.

COMPUTERIZED TOOLS

PUNCH OUT VARIOUS HOLES
IN THE NEXT STEEL SHEET.

IT WILL BE USED
TO MAKE THE BARBECUE'S CART.

THE HOLES
ARE STRATEGICALLY PLACED

FOR VENTS AND OTHER FEATURES.

ONCE HOLES ARE PUNCHED,

THE TEAM TRANSFERS THE SHEET
TO A PRESS BRAKE.

THEY PLACE IT BETWEEN THE JAWS

REPEATEDLY
TO MAKE NUMEROUS BENDS.

THE FIRST SET OF BENDS CREATE
A LEDGE FOR THE GRILL TO SIT ON.

OTHER BENDS TRANSFORM THE
FLAT SHEET INTO A THREE-WALL BOX

THAT WILL SERVE
AS THE BACK AND SIDES

OF THE BARBECUE'S CART.

THE NEXT EMPLOYEE PLACES A SHEET
WITHIN THE WALLS OF THE BOX.

THIS WILL SERVE AS THE BASE
OF THE BARBECUE'S CART.

HE CLAMPS CROSS BRACES
TO THE CART

AND WELDS THE PARTS TOGETHER.

THE BARBECUE CART
HAS TAKEN SHAPE.

THEY RETURN
TO THE FRONT HOOD PIECE.

IT'S BEEN ROUNDED
SINCE WE LAST SAW IT.

A WORKER ASSEMBLES TWO
STEEL SIDE PANELS TO THE HOOD.

THE SIDE PANELS
ARE MADE OF THICKER STEEL

THAN THE REST OF THE BARBECUE

BECAUSE THEY WILL NEED
TO SUPPORT HINGES AND SPRINGS.

AN EMPLOYEE PRESSES
A BELT SANDER

AGAINST THE WELDED SEAMS
TO CLEAN THEM UP.

THEN HE SANDS THE ENTIRE SURFACE
OF THE HOOD

SO THAT THE SEAMS DISAPPEAR.

HE INSERTS THE TEMPERATURE GAUGE

AND SECURES IT TO THE HOOD
FROM THE INSIDE.

DOWN THE LINE, ANOTHER TEAM
MEMBER JOINS THE REAR PART

OF THE HOOD
WITH THE BARBECUE'S FIREBOX.

HE INSTALLS
THE GAS MANIFOLD SYSTEM,

COMPLETE WITH VALVES
THAT CONTROL THE BURNERS.

HE HOOKS UP THE GAS LINE

THAT WILL FUEL
THE BARBECUE'S ROTISSERIE.

HE COVERS THE MANIFOLD

WITH A PLATE
THAT HAS HOLES FOR THE VALVES.

HE PLACES INFRARED CERAMIC
BURNERS INSIDE THE FIREBOX.

HE CONNECTS THE IGNITOR SYSTEM
FOR LIGHTING THE GAS BARBECUE...

...AND FASTENS
ALL THE CABLES TOGETHER.

NOW HE FIRES UP THE BARBECUE

AND INSPECTS IT FOR LEAKS OR
ANY OTHER OPERATIONAL PROBLEMS.

ONCE THE BARBECUE
PASSES INSPECTION,

THE EMPLOYEE MOUNTS A GLOSSY
STEEL PANEL TO THE FRONT.

HE ATTACHES A KNOB
TO THE END OF THE IGNITOR.

HE INSTALLS STAINLESS-STEEL
GRATES ABOVE THE BURNERS.

HE HINGES THE FRONT HOOD
TO THE BACK ONE.

ONCE THE HINGES HAVE BEEN
SECURED, HE LOWERS THE LID

TO CONFIRM THAT IT
CLOSES TIGHTLY OVER THE FIREBOX.

THE TEAM TRANSFERS THE BARBECUE
TO THE CART.

THE CART HAS BEEN EQUIPPED
WITH DOORS AND DRAWERS.

AFTER THEY WELD THE FIREBOX
TO THE CART,

THIS GAS BARBECUE IS ON ITS WAY
TO A PATIO NEAR YOU.

15 HOURS IN THE MAKING,

IT WILL PROVIDE YEARS
OF GRILLING PLEASURE.

NO NEED TO SLAVE
OVER A HOT STOVE IN THE KITCHEN.

JUST TURN ON THE GRILL
AND ENJOY THE GREAT OUTDOORS.

Narrator:
A MATTRESS PAD PROTECTS

AND PRESERVES A MATTRESS,
ENSURING THAT IT LASTS LONGER.

QUILTED WITH PLUSH FILLING,

A MATTRESS PAD
CAN ALSO PROVIDE AN EXTRA LAYER

OF COMFORT FOR THOSE
WHO PREFER A SOFTER MATTRESS.

PURCHASING A COMFORTABLE
MATTRESS IS AN INVESTMENT

IN A GOOD NIGHT'S SLEEP.

A MATTRESS PAD
CAN PROTECT THAT INVESTMENT.

TO MANUFACTURE A MATTRESS PAD,

A CREW FIRST CUTS STRAPS
TO KEEP THE FIBERS COMPRESSED.

THEN THEY FEED THE CLUMPS
OF FIBERS INTO A REVOLVING DRUM

WITH STEEL SPIKES.

THE SPIKES FLUFF UP THE FIBERS.

THIS STARTS THE PROCESS
OF OPENING

AND SEPARATING THE STRANDS.

FANS PROPEL THE FIBERS
THROUGH DUCTWORK IN THE CEILING

AND INTO A CHAMBER
WHERE THEY TUMBLE AROUND.

THIS PROCESS
INTRODUCES MORE AIR,

FURTHER SEPARATING THE FIBERS.

IT ALSO HELPS MIX THE NEW
AND RECYCLED FIBERS TOGETHER

WITH A POLYESTER BINDER.

NEXT, ROLLERS WITH SMALL
METAL TEETH ALIGN THE FIBERS.

TWO STREAMS OF COMBINED FIBERS

MERGE AND ENTER A MACHINE
CALLED A CROSSLAPPER.

HERE CARRIAGES LAY THE FIBERS
PERPENDICULAR TO EACH OTHER.

MULTIPLE LAYERS OF CRISSCROSSED
FIBERS ACCUMULATE,

CREATING
A THICK PILE OF POLYESTER.

ROLLERS COMPRESS
THE LAYERS OF POLYESTER,

THEN THE PADDING
TRAVELS THROUGH A LONG OVEN

THAT'S HEATED
TO JUST UNDER 400 DEGREES.

THE HEAT ACTIVATES THE BINDER
AND UNITES THE POLYESTER FIBERS.

THE POLYESTER EXITS THE OVEN
AND IS TAKEN UP BY A BIG SPOOL.

IN THE NEXT STAGE,
THE POLYESTER WADDING UNROLLS

AND TRAVELS BETWEEN SHEETS
OF EMBOSSED FABRIC.

AT THE SAME TIME,
THREAD UNWINDS FROM 22 BOBBINS.

THE THREAD AND POLYESTER WADDING
HEAD INTO A QUILTING MACHINE.

HERE 22 NEEDLES
CHAIN-STITCH A DESIGN

INTO THE FABRIC
AND POLYESTER WADDING.

THE STITCHING CREATES POCKETS
THAT HOLD THE FILLING IN PLACE.

WITHOUT IT, THE STUFFING

WOULD SLIDE AROUND
BETWEEN THE SHEETS OF FABRIC.

A CIRCULAR BLADE
SLICES THE QUILTED FABRIC

TO A WIDTH OF 60 INCHES,

THE STANDARD
FOR A QUEEN-SIZE MATTRESS.

THE EDGES OF THE QUILTED LAYERS
ARE LEFT OPEN FOR INSPECTION.

AT THE NEXT STATION,
FABRIC FOR THE SKIRT

UNWINDS INTO A LARGE,
AUTOMATED SEWING MACHINE.

IT PULLS ELASTIC THREADS TIGHT

AS IT SEWS THEM
INTO THE NYLON MATERIAL,

CREATING A RIBBED PATTERN.

THIS TURNS THE FABRIC
INTO A STRETCHY MATERIAL.

A SEAMSTRESS
STITCHES THE STRETCHY MATERIAL

TO THE QUILTED RECTANGLES.

SHE USES
AN INDUSTRIAL SEWING MACHINE

THAT TRIMS EXCESS FABRIC
AS IT SEWS.

SHE ALSO SEWS A LABEL
INTO THE SEAM.

IT CONTAINS
MANUFACTURING INFORMATION

AND WASHING INSTRUCTIONS.

THESE OVERLOCK STITCHES
WILL ENCAPSULATE THE SEAM

SO THAT THE FABRIC
WILL NOT UNRAVEL.

SHE TRIMS THE BOTTOM
OF THE SKIRT BY HAND

AND HEMS IT.

THE MATTRESS PAD IS COMPLETE

AND READY FOR
THE QUALITY CONTROL DEPARTMENT.

HERE AN EMPLOYEE DOES RANDOM
CHECKS OF THE WORKMANSHIP.

HE EXAMINES THE FIT OF THE PAD
TO A MATTRESS

AND LOOKS FOR MISSING STITCHES
OR DEFECTS.

WITH HIS APPROVAL,

THE MATTRESS PAD
IS READY TO LEAVE THE FACTORY.

IT TAKES ABOUT 30 MINUTES TO
MAKE ONE OF THESE MATTRESS PADS.

WITH THE JOB COMPLETE,
IT'S NAP TIME.

Narrator: A PROSTHESIS CAN HELP
RESTORE THE PHYSICAL APPEARANCE

OF A PERSON WHO HAS LOST A PART
OF THEIR FACE TO AN ACCIDENT

OR ILLNESS.

EVERYONE'S FACE IS UNIQUE,

SO THE PROSTHESIS MUST BE
CUSTOM-DESIGNED FOR THE PATIENT

BY AN ANAPLASTOLOGIST.

ANAPLASTOLOGISTS COMBINE
ANATOMICAL KNOWLEDGE,

TECHNICAL SKILL,
AND ARTISTIC TALENT.

THEY CAN CREATE
AN ARTIFICIAL EAR, NOSE,

OR EYE
THAT LOOKS REMARKABLY REALISTIC.

ENTIRELY CUSTOM-MADE,
THE PROSTHESIS BLENDS SEAMLESSLY

WITH THE PATIENT'S
SKIN COLORING.

THE PROSTHESIS IS DURABLE,
EASY FOR THE PATIENT TO APPLY,

AND COMFORTABLE TO WEAR.

TO SECURELY ATTACH
AN EAR PROSTHESIS TO A PATIENT,

SURGEONS
IMPLANT TITANIUM FIXTURES

INTO THE BONE
AROUND THE EAR AREA.

ONCE BONE HAS GROWN
OVER THE IMPLANT,

THE ANAPLASTOLOGIST
ATTACHES METAL MARKERS

CALLED IMPRESSION COPINGS TO THE
TITANIUM IMPLANTS' ABUTMENTS.

THESE MARKERS
REGISTER THE ABUTMENT LOCATIONS

IN THE IMPRESSION THE SURGEON
WILL NOW TAKE OF THE EAR AREA.

THE MATERIAL
SHE IS USING FOR THE IMPRESSION

IS THE SAME MATERIAL DENTISTS
USE TO MAKE MODELS OF TEETH.

SHE THEN ATTACHES
ABUTMENT REPLICAS TO THE COPINGS

WITH GUIDE PINS.

AFTER TAKING PHOTOS
OF THE PATIENT'S OTHER EAR,

THE SURGEON SENDS THE PATIENT
HOME AND BEGINS THE PROCESS

OF MAKING A PLASTER MODEL
OF THE MISSING EAR AREA.

SHE MIXES THE PLASTER
AND VACUUMS OUT ANY AIR POCKETS.

THIS IS TO PREVENT HOLES
FROM APPEARING IN THE PLASTER

ONCE IT SETS.

NEXT, SHE GENTLY PRESSES
THE EAR-AREA IMPRESSION

THAT SHE TOOK FROM THE PATIENT
INTO THE PLASTER.

ONCE THE PLASTER HARDENS,

SHE UNSCREWS THE GUIDE PINS
THAT CONNECT

THE IMPLANT ABUTMENT REPLICAS
TO THE IMPRESSION COPINGS.

THEN SHE REMOVES THE IMPRESSION.

SHE NOW HAS A PLASTER MODEL
OF THE PATIENT'S EAR AREA.

SHE SENDS THIS MODEL
TO AN OUTSIDE LABORATORY.

THE LAB PRODUCES
A SOLID GOLD BAR

THAT IS CUSTOM-FITTED
TO THE ABUTMENT REPLICAS.

SHE SCREWS THE GOLD BAR
INTO THE ABUTMENT REPLICAS,

THEN FILLS IN THE GAP
BETWEEN THE GOLD BAR

IN THE PLASTER MODEL
WITH HEATED WAX.

THIS WILL CREATE AN AIR SPACE
IN THE PROSTHESIS

SO THE PATIENT'S SKIN
CAN BREATHE.

SHE TRACES THE IMPRESSION
ON THE PLASTER WITH A PENCIL

AND BENDS A STRIP OF WAX
ALONG THE PENCIL LINE.

THEN SHE FILLS
THE WAX-ENCLOSED SHAPE

WITH FLESH-COLORED ACRYLIC.

IT TAKES AN HOUR
FOR THE ACRYLIC TO SOLIDIFY.

SHE REMOVES THE WAX STRIP

AND SHAVES
OFF ANY EXCESS ACRYLIC,

THEN CLEANS THE NEWLY FORMED
ACRYLIC PLATE.

IT WILL FORM THE RIGID INTERNAL
STRUCTURE OF THE PROSTHESIS.

SHE DRILLS HOLES
FOR ATTACHING THE PROSTHETIC EAR

AND INSTALLS TINY CLIPS.

THESE CLIPS ALLOW THE ACRYLIC
PLATE TO SNAP ONTO THE GOLD BAR

THAT IS ON THE PATIENT'S EAR.

NOW COMES THE ARTISTIC PART --

DESIGNING A WAX PROTOTYPE
OF THE PROSTHETIC EAR.

THE ANAPLASTOLOGIST
PLACES THE ACRYLIC PLATE AND BAR

ONTO THE PLASTER MODEL
OF THE PATIENT'S EAR AREA.

WITH FINE SCULPTING TOOLS
AND HER FINGERS,

SHE BEGINS SCULPTING A WAX EAR.

SHE REFERS TO PHOTOGRAPHS
OF THE PATIENT'S EXISTING EAR

TO TRY
TO SCULPT A PERFECT MATCH.

SCULPTING THE WAX PROTOTYPE
CAN TAKE AN ENTIRE DAY.

WHEN SHE'S DONE,

SHE CAREFULLY REMOVES THE
WAX EAR FROM THE PLASTER MODEL.

THE ACRYLIC PLATE
IS NOW LODGED INSIDE.

THE PATIENT RETURNS
FOR HIS NEXT APPOINTMENT.

HERE THE ANAPLASTOLOGIST
SNAPS ON THE WAX PROTOTYPE

AND COMPARES IT
TO THE PATIENT'S EXISTING EAR.

SHE MAKES WHATEVER MODIFICATIONS
ARE REQUIRED TO PERFECT THE FIT

AND APPEARANCE.

THIS SCULPTING PROCESS CAN TAKE
TWO OR THREE HOURS TO COMPLETE,

AND THE PATIENT MUST BE PRESENT.

ONCE THE ANAPLASTOLOGIST
IS SATISFIED WITH THE PROTOTYPE,

SHE CONDUCTS A COMPREHENSIVE
FINAL INSPECTION

FROM EVERY ANGLE.

THEN SHE MOVES ON TO THE LAST
PHASE USING THE WAX PROTOTYPE

TO MAKE
A SILICONE PROSTHETIC EAR.

Narrator: A PROSTHETIC EAR IS
MADE OF MEDICAL-GRADE SILICONE.

THE MATERIAL CAN BE MOLDED
INTO ANY SHAPE

AND COLORED
TO MATCH ANY SKIN TONE.

IT DOES NOT REACT TO TEMPERATURE
CHANGE OR IRRITATE THE SKIN,

ALLOWING
FOR A NATURAL-LOOKING PROSTHESIS

THAT'S COMFORTABLE TO WEAR.

TO CAST
A SILICONE PROSTHETIC EAR,

THE ANAPLASTOLOGIST
MAKES A THREE-PART MOLD.

SHE REATTACHES
THE WAX PROTOTYPE EAR

TO THE PLASTER MODEL
OF THE PATIENT'S EAR AREA.

THEN SHE TOPS THE COMBINATION
WITH COLORED DENTAL PLASTER.

ONCE THE PLASTER SETS,

SHE TRANSFERS EVERYTHING
INTO A TALLER CONTAINER

AND POURS IN
MORE DENTAL PLASTER.

ONCE THAT SETS, SHE POURS
BOILING WATER OVER THE MOLD

TO MELT THE WAX PROTOTYPE
THAT IS INSIDE.

THIS LEAVES AN EAR-SHAPED CAVITY

IN WHAT IS NOW
A THREE-PART PLASTER MOLD.

NEXT, SHE MIXES
ONE TO TWO OUNCES

OF MEDICAL-GRADE SILICONE
WITH A CATALYST.

SHE REMOVES A SMALL QUANTITY

AND MIXES IT WITH OPAQUE POWDER
IN A SEPARATE CUP

TO MAKE IT LESS TRANSPARENT.

THEN SHE MIXES
THIS OPAQUE MIXTURE

WITH THE REST OF THE SILICONE.

AT THE PATIENT'S
NEXT APPOINTMENT,

THE ANAPLASTOLOGIST
COLORS THE SILICONE

TO MATCH HIS SKIN TONE.

SHE WORKS WITH AN ARRAY

OF PIGMENT POWDERS
DILUTED IN SILICONE FLUID.

THE FIRST STEP
IS TO PRODUCE A BASE COLOR

THAT'S A PERFECT MATCH
TO THE PATIENT'S COMPLEXION.

THERE'S NO EXACT FORMULA
FOR DOING THIS.

IT REQUIRES AN ARTIST'S EYE.

SHE NEEDS THE PATIENT
RIGHT BESIDE HER

SO SHE CAN CHECK SAMPLES
AGAINST HIS SKIN.

ONCE SHE HAS
THE OVERALL BASE COLOR,

SHE TRANSFERS A SMALL AMOUNT
TO A SEPARATE CUP,

ADDS A DROP OF THICKENER,
AND MIXES.

THEN SHE CHOOSES
FROM HER COLOR PALETTE

TO PRODUCE A FEW DEEPER SHADES.

EVERY EAR
HAS NATURAL COLOR VARIATIONS.

SO FOR THE PROSTHESIS
TO LOOK REAL,

IT HAS TO HAVE VARIATIONS,
AS WELL.

SHE USES THE PATIENT'S OTHER EAR

TO MATCH THESE
MORE PRONOUNCED SKIN TONES.

ONCE ALL THE COLORS ARE READY,

SHE APPLIES THE DEEPER TONES
IN SPECIFIC AREAS OF THE EAR.

NEXT, TO SIMULATE VEINS,

SHE APPLIES
A FEW FINE, RED RAYON FIBERS.

SHE REPEATS
THIS COLORING PROCESS

FOR THE BACK
OF THE SILICONE EAR.

THEN SHE PUTS THAT PART,
ALONG WITH THE ACRYLIC PLATE,

ON THE PLASTER MODEL
OF THE EAR AREA.

SHE FILLS A SYRINGE
WITH A BASE COLOR

AND INJECTS IT
INTO THE MOLD CAVITY.

SHE COMPLETELY FILLS THE CAVITY,
GETTING EVERY NOOK AND CRANNY...

...THEN CLOSES THE MOLD FIRMLY.

SHE WIPES AWAY
ANY EXCESS SILICONE...

...CLAMPS THE MOLD
TIGHTLY IN A PRESS...

...AND PUTS THE PRESS
IN AN OVEN.

THE OVEN CURES THE SILICONE
FOR 2 HOURS

AT ABOUT 200 DEGREES.

ONCE THE MOLD COOLS
TO ROOM TEMPERATURE,

SHE OPENS IT AND EXTRACTS
THE FINISHED PROSTHETIC EAR.

IT'S IDENTICAL IN SHAPE
TO THE WAX PROTOTYPE

AND LOOKS REMARKABLY REALISTIC.

THE PATIENT RETURNS
FOR HIS FINAL VISIT.

SHE SNAPS ON THE PROSTHESIS...

AND CHECKS THAT THE EDGES ADHERE
WELL TO THE SURROUNDING SKIN.

THE LIFE-SPAN OF A PROSTHETIC
EAR DEPENDS ON HOW IT'S HANDLED.

SUN EXPOSURE
CAN WEAR OUT THE SILICONE

OR FADE ITS COLORING.

A PATIENT TYPICALLY RETURNS
FOR A NEW PROSTHESIS

EVERY TWO TO FOUR YEARS.

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