How It's Made (2001–…): Season 19, Episode 12 - Navajo Rugs, Crude Oil, Kaleidoscopes, Titanium Dental Implants - full transcript

CAPTIONS PAID FOR BY
DISCOVERY COMMUNICATIONS

Narrator: RUG WEAVING
IS A TRADITIONAL ART

PRACTICED BY THE NAVAJO,

AN INDIAN NATION
LOCATED IN THE UNITED STATES

WHERE COLORADO, NEW MEXICO,
UTAH, AND ARIZONA INTERSECT.

THEY ORIGINALLY WOVE
BLANKETS AND CLOTHING.

THEN, IN THE EARLY 1800s,

THEY BEGAN WEAVING RUGS
FOR SALE.

WHILE MANY WEAVERS CREATE
CONTEMPORARY DESIGNS,

NAVAJO RUGS TYPICALLY FEATURE
BOLD GEOMETRIC PATTERNS.

THE WOOL-PREPARATION
AND WEAVING TECHNIQUES



DEVELOPED
BY THE WEAVERS' ANCESTORS

HAVE BEEN PROUDLY PASSED DOWN
FROM GENERATION TO GENERATION.

EVERYTHING IN A NAVAJO RUG
COMES FROM NATURE,

STARTING WITH FLEECE --
RAW WOOL SHEARED FROM A SHEEP.

WORKING A HANDFUL AT A TIME,

THE WEAVER REMOVES
THE MATS AND TANGLES

AND PLACES THE WOOL
ON CARDERS --

WOODEN PADDLES WITH METAL TEETH.

BY PULLING ONE CARDER
AGAINST THE OTHER,

SHE STRAIGHTENS THE WOOL FIBERS,

LINING THEM UP
IN THE SAME DIRECTION.

THIS PREPARES THEM TO BE SPUN

INTO ONE CONTINUOUS STRAND
OF YARN.

AFTER THREE OR FOUR PULLS,
SHE FLIPS THE CARDERS



TO STRAIGHTEN THE FIBERS
ON THE UNDERSIDE.

THEN SHE ROLLS UP THE FLEECE

AND ADDS IT TO THE OTHER ROLLS
IN THE SPINNING PILE.

SHE SPINS THE FLEECE
ONE ROLL AT A TIME

WITH THE TRADITIONAL SPINDLE
THAT SHE LAYS AGAINST HER THIGH

AND ROTATES TOWARDS HER
WITH ONE HAND.

THIS MOVEMENT TWISTS
THE CARDED ROLL OF FLEECE

INTO A STRAND.

WHEN SHE REACHES
THE END OF THE ROLL,

SHE CONNECTS ANOTHER
AND RESUMES SPINNING

AND KEEPS REPEATING THIS PROCESS

UNTIL SHE'S PRODUCED ONE LONG,
CONTINUOUS STRAND

FROM ABOUT 50 ROLLS.

THEN SHE RESPINS THE STRAND

TO THIN IT OUT
TO THE FINAL WEAVING SIZE.

WHEN SHE'S DONE,

SHE CHECKS
THE ENTIRE LENGTH OF THE STRAND,

PULLING ON THE THICKER AREAS
TO THIN THEM OUT

SO THAT THE ENTIRE STRAND
IS A CONSISTENT SIZE

FROM ONE END TO THE OTHER.

HERE YOU CAN SEE
THE DIFFERENCE IN THICKNESS

BETWEEN THE FIRST SPINNING
AND THE SECOND.

TO INFUSE HER WOOL WITH COLOR,
SHE PREPARES NATURAL DYES --

SUNFLOWERS FOR YELLOW,
WALNUTS FOR TAN AND BROWN HUES,

AND CACTUS BUGS FOR BRIGHT RED.

SHE PUTS THE BUGS IN A STOCKING

AND SOAKS THEM
IN WARM WATER OVERNIGHT.

THEN, SHE SUBMERGES THEM
IN A POT OF WATER,

POURS IN THE PRESOAK WATER,
AS WELL,

AND SIMMERS FOR 45 MINUTES
TO AN HOUR AND A HALF,

DEPENDING ON HOW VIBRANT
SHE WANTS THE RED DYE TO BE.

MEANWHILE, SHE SOAKS THE YARN
IN WARM WATER

FOR AT LEAST A HALF-HOUR

TO OPEN UP THE FIBERS
SO THAT THEY'LL ABSORB THE DYE.

AFTER WRINGING OUT THE YARN,

SHE IMMERSES IT
IN THE POT OF HOT DYE

AND SIMMERS
FOR AT LEAST 45 MINUTES,

DEPENDING ON THE AMOUNT OF BUGS,
WATER, AND WOOL.

SHE STIRS FREQUENTLY TO ENSURE
IT DYES EVENLY THROUGHOUT.

IT'S THE SAME PROCESS
WITH PLANT DYES,

EXCEPT THAT SHE DOESN'T
PRESOAK THE PLANTS OVERNIGHT

BEFORE BOILING THEM IN WATER.

THE SHADE OF COLOR DEPENDS
ON THE RATIO OF PLANTS TO WATER

DURING DYE PREPARATION,

THEN OF DYE
TO THE QUANTITY OF WOOL.

PROPORTIONALLY MORE PLANTS
THAN DYE,

THE DARKER THE SHADE.

PROPORTIONATELY LESS,
THE LIGHTER THE SHADE.

SUNFLOWERS AND WALNUTS
ARE JUST TWO OF MANY PLANTS

THE NAVAJO HAVE
TRADITIONALLY USED

TO PRODUCE A RAINBOW OF DYES
FOR THEIR TEXTILES.

WITH HER WOOL NOW SPUN AND DYED,

THE WEAVER PICKS UP
HER WEAVING COMB AND BEGINS.

NAVAJO ANCESTORS USED TREES
AS THE SIDES OF THEIR LOOMS.

TODAY'S WEAVERS MAKE LOOMS
FROM LUMBER OR METAL PIPES.

AFTER STRINGING
TIGHT, VERTICAL STRANDS OF WOOL

CALLED THE WARP,

SHE USES A FLAT,
HANDMADE STICK CALLED A BATTEN

TO PRY A WIDE ENOUGH OPENING

THROUGH WHICH TO PASS HER HAND
WITH THE COLORED WEAVING WOOL.

SHE WEAVES HORIZONTALLY
IN AND OUT BETWEEN THE WARP

FIRST IN ONE DIRECTION,
THEN IN THE OTHER.

THEN, SHE PACKS DOWN
THE WOOL TIGHTLY WITH HER COMB

SO THAT THE WARP DOESN'T SHOW.

SHE MOSTLY EYEBALLS
THE EMERGING UNIQUE PATTERN,

OCCASIONALLY COUNTING
VERTICAL STRANDS

TO CALCULATE THE SYMMETRY,

A SIGNATURE FEATURE
OF TRADITIONAL NAVAJO RUGS.

Narrator: CRUDE OIL,
ALSO CALLED PETROLEUM,

IS UNPROCESSED OIL
FOUND DEEP IN THE GROUND.

IT FORMS NATURALLY

FROM DECOMPOSED,
PREHISTORIC PLANTS AND ANIMALS.

THE COLOR CAN RANGE
FROM CLEAR TO BLACK,

THE CONSISTENCY FROM VERY WATERY
TO VERY THICK.

OIL COMPANIES DRILL WELLS
DEEP INTO THE GROUND

THEN INSTALL PUMPING UNITS
TO DRAW UP THE FLUID

THAT CONTAINS CRUDE OIL
AND SALTY WATER.

THIS OIL FIELD
IN CENTRAL CALIFORNIA

HAS 6,000 PRODUCING WELLS.

THE PUMPING UNITS CAN RUN
24 HOURS A DAY.

HOWEVER,
A SENSOR TRIGGERS THEM TO PUMP

ONLY WHEN THE FLUID FLOW STOPS.

HERE'S WHAT GOES ON
INSIDE THE WELL.

WITH EACH DOWNSTROKE,

THE PUMPING UNIT PUSHES
A STEEL ROD

DOWN THE STEEL TUBE
LINING THE WELL.

WITH EACH UPSTROKE,
THE ROD RISES,

AND THE PRESSURE DIFFERENCE

BETWEEN THE FLUID ON THE OUTSIDE
AND FLUID ON THE INSIDE

OPENS A BALL-SHAPED VALVE
PLUGGING THE BOTTOM,

LETTING THE FLUID FLOW
UP THE TUBE.

ANOTHER VALVE AT THE TOP

RELEASES THE FLUID
OUT OF THE WELL.

TO DRILL A NEW WELL,

WORKERS FIRST ERECT
A DRILLING RIG AT THE SITE

THEN HOIST A GIANT PIPE
WITH A DRILL BIT ON THE END.

THEY FEED THIS DRILL PIPE

THROUGH THE CENTER
OF A SPINNING DISK

CALLED A ROTARY TABLE.

AS THE TABLE TURNS,
THE DRILL PIPE TURNS,

ITS WEIGHT BEARING DOWN

AND BORING A HOLE
THROUGH THE GROUND.

ONCE THE DRILL PIPE DESCENDS
ITS FULL 30-FOOT LENGTH,

THEY CONNECT ANOTHER PIPE

THEN KEEP REPEATING
WITH SUBSEQUENT DRILL PIPES

UNTIL THEY BORE INTO
THE RESERVOIR CONTAINING FLUID.

THROUGHOUT THE DRILLING PROCESS,

THEY PUMP A MUD MIXTURE
DOWN THE DRILL PIPE.

IT COMES OUT THE DRILL BIT
AT THE END,

HITS THE BOTTOM OF THE HOLE,
THEN BACKS UP TO THE TOP,

BRINGING THE DRILLED-OUT ROCK
WITH IT.

AFTER LINING THE WELL
WITH A STEEL TUBE

TO KEEP THE WALLS
FROM COLLAPSING INWARD,

THEY MOUNT THE PUMPING UNIT

AND INSTALL
THE VALVES WE SAW IN THE MODEL.

THE PUMPING UNIT PUSHES
THE ROD UP AND DOWN

THROUGH THE WELL HEAD
AT THE SURFACE.

AS A SAFETY MEASURE,

WORKERS TAKE READINGS
TO CHECK THE AIR

FOR ANY HAZARDOUS
UNDERGROUND GASES

THAT MAY BE EXITING THE WELL.

ONCE THEY DETERMINE
THE AREA IS SAFE,

THEY DRAW A SAMPLE OF FLUID

TO TEST
THE WELL'S WATER-TO-OIL RATIO.

THE TYPICAL RATIO IS
90% WATER TO 10% OIL.

THE FLUID FROM EACH WELL EXITS
VIA A PIPE,

AND THE PIPES FROM ALL THE WELLS

FEED A MAIN LINE LEADING
TO A GAS-REMOVAL VESSEL.

THE FLUID CONTAINS
CARBON DIOXIDE,

HYDROGEN SULFIDE,
AND NATURAL GAS.

THEY NATURALLY RISE
TO THE TOP OF THE VESSEL

AND EXIT VIA A PIPE

WHICH RUNS TO THE COMPANY'S
GAS-TREATMENT PLANT.

THERE, EQUIPMENT REMOVES
AND TREATS THE HYDROGEN SULFIDE,

TRANSFORMING IT INTO SULFUR,

WHICH A LOCAL FARM BUYS
TO USE AS FERTILIZER.

THE NATURAL GAS AND CO2,
MEANWHILE,

ARE PIPED TO ANOTHER AREA,

WHERE THEY FUEL
THE COMPANY'S STEAM GENERATOR.

THE GENERATOR BOILS THE WATER
EXTRACTED FROM THE FLUID

TO PRODUCE STEAM.

THE COMPANY INJECTS STEAM
INTO THE WELLS

TO HEAT THE FLUID,

THINNING IT
SO THAT IT FLOWS FASTER.

ONCE GASLESS, THE FLUID IS PIPED

TO THE TREATMENT PLANT
THAT EXTRACTS THE SALTY WATER.

IN THIS BIG TANK,

APPROPRIATELY CALLED
THE FREE-WATER KNOCKOUT,

THE SEPARATION OF OIL AND WATER
HAPPENS NATURALLY,

THE OIL FLOATING TO THE TOP.

HOWEVER,
TO HASTEN THAT NATURAL PROCESS,

THEY ADD A CHEMICAL
CALLED AN EMULSION BREAKER.

THE EXTRACTED WATER EXITS

VIA A PIPE LEADING
TO THE STEAM GENERATOR.

THE OIL GOES
TO A CLARIFICATION TANK

IN WHICH A CHEMICAL PROCESS
FILTERS OUT SAND,

WHICH THE FLUID BROUGHT UP
FROM THE RESERVOIR.

THE EMULSION BREAKER
ADDED IN THE PREVIOUS TANK

CONTINUES TO EXTRACT WATER.

BY THE END, WHEN THE RATIO IS
98% OIL TO 2% WATER OR BETTER,

THE CRUDE OIL IS READY TO SELL.

BUILT-IN METERS GIVE

INSTANTANEOUS
WATER-CONTENT READINGS.

AS AN ADDITIONAL QUALITY-CONTROL
MEASURE, HOWEVER,

THE COMPANY ALSO DRAWS SAMPLES
FOR ANALYSIS IN ITS ONSITE LAB.

IN FACT, THERE'S TESTING
THROUGHOUT PRODUCTION

TO ENSURE SUFFICIENT WATER
IS BEING EXTRACTED

AT EACH PHASE OF PROCESSING.

REFINERIES BUY CRUDE OIL
AS A RAW MATERIAL

FOR PRODUCING GASOLINE, ASPHALT,
PLASTICS,

AND MANY OTHER PRODUCTS.

Narrator: INVENTED
IN THE EARLY 19th CENTURY

BY A SCOTTISH SCIENTIST
STUDYING LIGHT,

THE KALEIDOSCOPE
CAN STILL COMPETE

WHEN IT COMES TO PRODUCING
STUNNING VISUAL EFFECTS.

PEER INSIDE AND WITNESS
DAZZLING GEOMETRIC IMAGES

PRODUCED AS MIRRORS
MULTIPLY OBJECTS.

THE IMAGES ARE SPECTACULAR
AND FLEETING,

EACH ONE LASTING JUST SECONDS
BEFORE THE NEXT APPEARS.

MANY YEARS AFTER ITS INVENTION,

THE KALEIDOSCOPE
IS STILL WORTH LOOKING INTO.

TO MAKE A KALEIDOSCOPE,
THIS CRAFTSMAN STARTS

WITH A MIRROR SHEET
THAT HAS ADHESIVE BACKING.

HE SCORES IT TO CREATE
LONG AND NARROW RECTANGLES

AND GENTLY BREAKS IT
ALONG THE SCORED LINES.

THE MIRROR'S REFLECTIVE COATING

IS ON THE FRONT
INSTEAD OF THE UNDERSIDE.

A MIRROR LIKE THIS PRODUCES
SHARPER REFLECTIONS

THAN A REGULAR HOUSEHOLD MIRROR.

HE SLICES THE ADHESIVE BACKING

TO SEPARATE
THE MIRRORED RECTANGLES.

HE SNAPS OFF THE SCORED ENDS,
CREATING PERFECTLY LINEAR EDGES.

NEXT, HE PEELS BACKING FROM
A STRIP OF BLACK-OUT FELT PAPER

AND WRAPS IT
AROUND A GLASS RECTANGLE.

THIS FELT-WRAPPED GLASS WILL BE
THE THIRD WALL

OF A TWO-MIRROR SYSTEM -- ONE
WITH A TRIANGULAR CONFIGURATION.

HE REMOVES THE ADHESIVE FILM
FROM THE MIRRORS

THEN BUILDS THE TRIANGLES

WITH THE MIRRORS'
REFLECTIVE SURFACES

FACING INWARD TOWARDS
THE FELT-WRAPPED RECTANGLE.

THIS ARRANGEMENT WILL REFLECT
OBJECTS

TO CREATE A CIRCULAR IMAGE
KNOWN AS A MANDALA.

HE AIMS THE MIRROR SYSTEM
AT A LIGHT BOX

WITH A TWO-LINE DRAWING IN IT.

ONE LINE IS CURVED,
AND THE OTHER IS STRAIGHT.

PEERING INTO IT,

HE ADJUSTS THE ALIGNMENT
OF THE MIRRORS

UNTIL THE LINES MORPH
INTO A FIVE-POINT STAR.

THIS MEANS THE CORNERS
OF THE MIRROR TRIANGLE

ARE PRECISELY 36 DEGREES

AND IT IS MULTIPLYING
IMAGES CORRECTLY.

HE HOT-GLUES THE MIRRORS
TO THE OPAQUE PART

AND APPLIES METAL TAPE
TO THE TOP SEAM

TO COMPLETE
THE KALEIDOSCOPE MIRROR SYSTEM.

OVER IN THE ART DEPARTMENT,

THE ARTIST ASSEMBLES
DECORATIVE OBJECTS

AGAINST A BLACK BACKGROUND
IN AN ACRYLIC CELL.

WITH EVERY PLACEMENT,

SHE CHECKS THE EFFECT THROUGH
THE TRIANGULAR MIRROR SYSTEM.

SHE GLUES DICHROIC GLASS
ONTO THE BACKDROP.

IT'S A KIND OF GLASS

THAT'S BEEN TREATED
WITH METAL OXIDES,

AND IT APPEARS
TO HAVE DIFFERENT HUES.

OTHER OBJECTS INCLUDE
JEWELRY PARTS, COLORED WIRE,

BUTTONS, AND EVEN PAPER CLIPS.

SHE FOLLOWS NO SPECIFIC DESIGN
BUT WORKS FREESTYLE.

WHILE SHE GLUES SOME DOWN,

SHE LEAVES OTHERS LOOSE
TO SIMPLY TUMBLE AROUND.

A SPRINKLE OF TINY BEADS
COMPLETES THE GROUPING.

AS THE MIRROR SYSTEM MULTIPLIES
THESE OBJECTS,

THEY WILL CREATE THE MANDALAS.

THESE ARE PHOTOGRAPHS
OF ACTUAL MANDALAS,

AND THEY'LL BE USED TO DECORATE
THE OUTSIDE OF THE KALEIDOSCOPE.

THE OTHER MEMBER OF THE TEAM

NOW APPLIES AN ACRYLIC ADHESIVE
TO THE RIM OF THE CELL

AND PRESSES A CLEAR LID ONTO IT.

THE LID FUSES TO THE CELL BODY.

BUT IT'S NOT YET COMPLETELY
SEALED.

THERE'S A TINY HOLE
IN THE SIDE OF THE CELL

THROUGH WHICH HE NOW DISPENSES
HEAVY MINERAL OIL.

SUBMERGED IN MINERAL OIL,

THE OBJECTS WILL FLOAT
AND MOVE THROUGH THE CELL

FOR GREATER EFFECT.

HE PLUGS THE HOLE WITH
AN ACRYLIC ADHESIVE AND SCREW.

HE IS NOW READY

TO ASSEMBLE ALL THE PARTS
OF THE KALEIDOSCOPE.

HE SLIDES THE MIRROR SYSTEM

INTO A HEAVY CARDBOARD TUBE
DECORATED BY THE MANDALA PHOTOS.

HE CUSHIONS THE MIRROR SYSTEM
WITH FOAM,

AND THIS STABILIZES IT.

HE INSTALLS A METAL EYEPIECE
AND GLASS LENS

ON ONE END
OF THE KALEIDOSCOPE TUBE.

HE SLIDES THE OBJECT CELL

INTO A PROTECTIVE METAL CAGE
THAT ROTATES.

HE PLACES
A TRANSPARENT GLASS DISK

OVER THE CELL.

HE APPLIES ADHESIVE TO THE CAGE
AND INSERTS THE ASSEMBLY

INTO THE OTHER END
OF THE KALEIDOSCOPE TUBE.

THIS KALEIDOSCOPE IS NOW READY
FOR A VIEWING.

LIGHT PASSES
THROUGH THE OBJECT CELL,

ILLUMINATING THE TRINKETS.

REFLECTIONS BOUNCE
OFF THE MIRRORS TO CREATE

ONE SPECTACULAR ILLUSION
AFTER ANOTHER.

TWO CENTURIES
AFTER ITS INVENTION,

THE VIEW
THROUGH THE KALEIDOSCOPE

STILL FASCINATES.

Narrator:
THE ANCIENT MAYANS HAMMERED
SEASHELLS INTO THEIR JAWS

TO REPLACE MISSING TEETH.

THOSE SEASHELLS WERE LIKELY
THE FIRST DENTAL IMPLANTS.

TODAY, TITANIUM TOOTH IMPLANTS
FILL THE GAPS NICELY,

AND, USUALLY,
THE PATIENT'S JAWBONE

WILL ACTUALLY BOND TO THEM.

IN THE MIDDLE
OF THE 20th CENTURY,

IT WAS DISCOVERED

THAT TITANIUM IS A METAL
THAT BONDS WITH BONE.

IT REVOLUTIONIZED
RESTORATIVE DENTISTRY,

MAKING ENDURING TOOTH IMPLANTS
POSSIBLE.

TO MAKE THESE IMPLANTS,

THEY START
WITH A SOLID TITANIUM ROD.

THIS 13-FOOT ROD WILL BE USED
TO MAKE MORE THAN 200 IMPLANTS.

THE TECHNICIAN INSERTS THE ROD
IN A LONG TUBULAR DEVICE

THAT KEEPS IT STRAIGHT
AS IT FEEDS TO A LATHE SYSTEM.

THE TITANIUM ROD SPINS

AS COMPUTERIZED TOOLS
SLIM IT DOWN

AND CUT THREADS INTO IT.

THESE THREADS WILL
HELP ANCHOR THE IMPLANTS

IN THE PATIENT'S JAW.

THE LATHE PUSHES THE ROD OUT

AND THEN PULLS IT BACK IN
REPEATEDLY

TO FACILITATE
THE SHAPING PROCESS.

A TOOL NOW GRIPS THE IMPLANT
WHILE ANOTHER CUTS IT TO LENGTH.

THEN, A COMPUTERIZED DRILL
HOLLOWS OUT THE IMPLANT

AND CARVES THREADS INSIDE
FOR ATTACHING THE CERAMIC TOOTH.

IN MINUTES, A SOLID,
METAL CYLINDER BECOMES

A HOLLOWED AND THREADED IMPLANT.

A ROBOT NOW RETRIEVES
THE IMPLANT

FROM THE CLUTCHES
OF ANOTHER ONE.

IT TRANSFERS IT
TO A CLEANING STATION

AND THEN OVER TO WHAT'S KNOWN
AS A VISION MEASURING SYSTEM.

HERE, A CAMERA TAKES PICTURES
OF THE IMPLANT FROM ALL ANGLES

AND SENDS THE IMAGES
TO A COMPUTER FOR ANALYSIS.

THE COMPUTER CONFIRMS

THE DIMENSIONS ARE
EXACTLY RIGHT.

THEN,
THE ROBOT COLLECTS THE IMPLANT

AND PLACES IT
INTO A SLOT IN A TRAY.

ONCE FILLED WITH IMPLANTS,

A TECHNICIAN SCREWS
A MESH LID ON THE TRAY

AND SLIDES IT
INTO A METAL BASKET.

THE BASKET POSITIONS THEM
FOR CLEANING

IN A SPECIAL WASHING MACHINE
KNOWN AS A VAPOR DEGREASER.

INSIDE,
SOLVENT VAPORS ENVELOP THE PARTS

TO CLEAN OFF
RESIDUAL LUBRICANT OILS

USED DURING THE CUTTING PROCESS.

A ROBOT TRANSFERS AN IMPLANT
TO A HOLDING DEVICE.

THE DEVICE SECURES THE IMPLANT

FOR THE NEXT ROBOT TO PRESS
A PLASTIC COLLAR ONTO IT.

THIS COLLAR IS TEMPORARY.

IT WILL SERVE AS A MASK

TO PROTECT THE OUTSIDE
OF THE IMPLANT

AS THE TOP UNDERGOES
A PROCESS OF COLORIZATION.

A ROBOT PLACES THE IMPLANT
UPSIDE DOWN IN A MILD ACID.

THEY APPLY AN ELECTRICAL CHARGE.

DIFFERENT COLORS WILL APPEAR
AT DIFFERENT VOLTAGES

TO COLOR-CODE THE PART
AND INDICATE THE DIAMETER.

THE PROCESS IS CALLED ANODIZING.

A ROBOT NOW PULLS OFF
THE MASKING COLLAR.

IT TRANSFERS THE IMPLANTS
TO ANOTHER TRAY

AND SCREWS THEM ONTO IT.

THIS KEEPS THEM FROM FALLING OFF

AS MACHINERY TURNS THE TRAY
UPSIDE DOWN

TO IMMERSE THE IMPLANTS
IN ACID

AND ANODIZE THE EXTERIOR.

THIS TIME, THE ANODIZING SERVES
ANOTHER PURPOSE.

IT CHANGES THE SURFACE
TO MAKE IT MORE POROUS.

THIS WILL IMPROVE THE BONDING
OF THE PATIENT'S JAWBONE

TO THE IMPLANT.

THE IMPLANT SPARKLES
IN THE SOLUTION

AS IT UNDERGOES
A TRANSFORMATION.

HERE'S THE NEW POROUS SURFACE
MAGNIFIED BY A MICROSCOPE.

A ROBOT TRANSFERS
THE DENTAL IMPLANTS

TO ANOTHER TRAY.

THEY'RE NOW READY
FOR A FINAL CLEANING.

A TECHNICIAN PUTS A LID
ON THE TRAY

AND LOWERS IT INTO A TANK
FULL OF HOT, PURIFIED WATER.

A GENERATOR SENDS
HIGH-FREQUENCY SOUND WAVES

INTO THE WATER,

CREATING BUBBLES AND WAVES
THAT GENTLY SCRUB THE IMPLANTS.

AFTER STERILIZATION,
THESE TITANIUM DENTAL IMPLANTS

ARE READY TO TAKE ROOT
IN HUMAN JAWS.

THE CLINICIAN SCREWS THE IMPLANT
INTO THE PATIENT'S JAWBONE

AND THEN SECURES A MADE-TO-MATCH
CERAMIC TOOTH TO IT.

OVER TIME, BONE WILL FUSE
TO THIS ARTIFICIAL TOOTH,

PROVIDING
A LONG-LASTING TOOTH REPLACEMENT

AND GIVING THE PATIENT
A REASON TO SMILE.

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