How It's Made (2001–…): Season 19, Episode 9 - Dinnerware/Air Brake Tanks/Frosted Cereal/Fossils - full transcript
Dinnerware; Air Brake Tanks; Frosted Cereal; Fossils
Narrator: RESTAURANT DINNERWARE
BRINGS A LOT TO THE TABLE.
IT'S KNOWN
FOR RUGGED GOOD LOOKS,
IT HOLDS UP TO HEAVY USE
AND REPEATED CLEANING
IN COMMERCIAL DISHWASHERS,
AND ITS DESIGN REFLECTS
THE RESTAURANT'S THEME
AND ADDS PRESENTATION VALUE
TO THE FOOD.
MOST PEOPLE
APPRECIATE THE EFFORT
THAT GOES INTO A FINE MEAL,
BUT THEY MAY NOT GIVE
MUCH THOUGHT TO WHAT IT TAKES
TO MAKE THE ACTUAL PLATE
THE FOOD IS SERVED UP ON.
MAKING CERAMIC DINNERWARE
THAT'S RESTAURANT-QUALITY
IS AN INTENSIVE PROCESS --
ONE THAT STARTS WITH
A MASTER DIE MADE OF GYPSUM.
THIS WORKER THEN MAKES
A PRODUCTION VERSION
OF THE MASTER.
TO DO THIS, HE POURS GYPSUM
INTO A WIRE-MESH FRAME
ABOVE THE MASTER.
THERE'S TUBING ATTACHED
TO THE MESH FRAME,
AND HE PUMPS AIR THROUGH IT.
THIS CAUSES THE WATER
IN THE GYPSUM
TO BUBBLE OUT AND EVAPORATE.
IT DRIES AND SOLIDIFIES
INTO A MIRROR IMAGE
OF THE MASTER --
IN THIS CASE, A PLATTER SHAPE.
THE TUBING
INSIDE THIS PRODUCTION DIE
WILL BE USED AGAIN LATER
TO GENTLY BLOW OFF THE PLATTER
WHEN FORMED,
RELEASING IT FROM THE DIE.
ANOTHER WORKER ADDS THE CERAMIC
INGREDIENTS TO WATER.
THEY INCLUDING
A PLASTICIZER, SILICA SAND,
DIFFERENT CLAYS,
AND MINERALS LIKE ALUMINA.
ONCE THE CLAY MIX
HAS BEEN THOROUGHLY BLENDED,
THEY DRAIN IT
ONTO A VIBRATING SIEVE
TO SCREEN OUT LARGE
MINERAL CHUNKS AND IMPURITIES.
THE CLAY-BASED LIQUID
FLOWS THROUGH THE SCREEN
INTO A HOLDING TANK.
THEY PUMP IT
THROUGH THIS FILTER PRESS.
IT COMPRESSES
FABRIC-COVERED PLASTIC PLATES
TO SQUEEZE OUT MOISTURE,
TURNING THE CLAY LIQUID
INTO PUTTY-LIKE SLABS.
WITH THIS CONSISTENCY,
IT CAN NOW BE SHAPED.
A WORKER BREAKS UP THE SLABS
AND FEEDS THE PIECES
TO A PUG MILL.
THE MILL SHAPES THE CLAY
INTO A LONG CYLINDER,
AND, IN THE PROCESS,
IT SUCKS OUT AIR
SO DINNERWARE MADE FROM IT
WILL BE LESS PRONE TO CRACKING.
HE SLICES THE CLAY CYLINDER
INTO SMALL WADS,
USING A WIRE CUTTER.
EACH OF THESE CLAY WADS
WILL BE SHAPED INTO ONE PLATE.
THEY PLACE EACH WAD ONTO MOLDS
ON A REVOLVING PLATFORM.
THE MOLD SPINS UP
TO A METAL TOOL,
WHICH PRESSES THE CLAY INTO THE
SHAPE OF THE PLATE MOLD BELOW.
THE TOOL ALSO FORMS THE BACK
SO THE PLATE WILL SIT EVENLY
ON A TABLE.
A NOZZLE LUBRICATES THE METAL
TOOL BETWEEN PRESSINGS.
A CUTTER AT THE SIDE
TRIMS THE RIMS OF THE PLATES
AS THEY'RE FORMED.
UNLIKE THE PLATTER DIE,
THESE MOLDS DON'T HAVE TUBING
INSIDE TO BLOW OFF THE PLATES.
INSTEAD, THE HEAT FROM THE DRIER
SEPARATES THEM FROM THE MOLDS.
ONCE OUT OF THE MOLDS,
THE PLATES SPIN ON PEDESTALS
PAST A SPONGE
TO SMOOTH THE EDGES.
TO MAKE COFFEE MUGS,
THE PUG MILL PRESSES OUT
A NARROWER CYLINDER,
AND A KNIFE AT THE EXIT POINT
SLICES IT INTO PRECISE WADS.
THE WADS FALL
INTO COFFEE-MUG MOLDS,
AND A TOOL SPINS THE CLAY UP
AGAINST THE WALLS OF THE MOLDS
TO SHAPE IT INTO MUGS.
A BLADE AT THE TOP
TRIMS THE EXCESS
FROM THE LIP OF THE MUG.
THEY PASS UNDER A LONG SPONGE
TO SMOOTH THE RIMS.
AND NOW FOR THE HANDLES.
THEY MAKE THEM IN TWO-PART MOLDS
AND DRY THEM
UNDER AN INFRARED LIGHT.
THE HANDLES MUST HAVE PRECISELY
THE SAME MOISTURE CONTENT
AS THE MUGS -- AROUND 16%.
A WORKER DIPS THE ENDS
OF EACH HANDLE
IN A CLAY-AND-GLUE MIXTURE
AND PRESSES IT TO THE MUG.
THE MUGS GO INTO A DRIER,
AND THE MOISTURE CONTENT
DROPS TO 4%.
NEXT, THEY DOUSE THE MUGS
WITH GLAZE INSIDE AND OUT
AND BAKE THEM
IN A SUPER-HOT KILN.
THIS WILL MAKE THE MUGS
CHIP-RESISTANT
AND WILL STRENGTHEN THE BOND
BETWEEN THE HANDLE AND THE MUG.
THEY PAINT THE DINNERWARE
BY HAND, USING A CERAMIC STAIN.
THE STAIN WILL ENABLE IT
TO HOLD UP
TO REPEATED RIGOROUS CLEANINGS
IN RESTAURANT DISHWASHERS.
FOR A DIFFERENT LOOK, THEY APPLY
DECALS TO SOME DINNERWARE.
THIS ARTWORK HAS BEEN PRODUCED
USING THE SAME HARD-WEARING
CERAMIC STAIN.
THE PLATES
THEN HEAD INTO THE OVEN,
AND THE HEAT FUSES
THE DECORATIVE TOUCHES TO THEM.
FROM A LIQUID CLAY MIX
TO TABLEWARE
YOU CAN DINE OUT ON.
THE PROCESS HAS TAKEN
ABOUT 24 HOURS.
IT SHOULD SERVE YOU WELL.
Narrator: AIR-BRAKE TANKS ARE
PART OF POWERFUL BRAKE SYSTEMS
ON TRACTOR TRAILERS AND BUSES.
WHEN THE DRIVER
DEPRESSES THE BRAKE PEDAL,
THE TANK RELEASES
THE COMPRESSED AIR
TO ACTIVATE THE BRAKES
SO THE BIG WHEELS SLOW DOWN
AND STOP TURNING.
THE ENERGY USED TO STOP
A BIG RIG COMES FROM AIR.
IT'S COMPRESSED AND STORED
IN THE BRAKE TANKS
SO THERE'S ALWAYS
A READY SUPPLY.
THEY MAKE AIR-BRAKE TANKS
FROM INDUSTRIAL-GRADE STEEL
THAT'S ABOUT AS THICK
AS A TYPICAL MAGAZINE.
A PRESS FORCES THE STEEL
AROUND A DOME FORM
AND SHEARS THE EDGES
TO PRODUCE THE TANK'S END CAPS.
IT ALSO PUNCHES A HOLE
IN EACH CAP FOR A FITTING.
THE CAP'S DOME SHAPE
IS CRITICAL.
IT WILL ALLOW IT TO WITHSTAND
THE AIR PRESSURE
INSIDE THE TANK.
THE TANK CAPS NOW RIDE
A CONVEYOR UNDER SPRAYERS
THAT WASH AWAY RESIDUAL OIL
FROM THE PRESSING PROCESS.
MORE STEEL SHEETING
FEEDS INTO ANOTHER PRESS.
IT'S TWICE AS THICK AS THE STEEL
USED TO MAKE THE END CAPS.
THIS PRESS IS PUNCHING
AND FORMING BRACKETS
FOR ATTACHING THE AIR TANK
TO THE TRAILER UNDERCARRIAGE,
SO THESE CONNECTING PARTS
HAVE TO BE EXTRA-STRONG.
IT TAKES SIX PUNCHES
TO SHAPE THE FLAT SHEET OF STEEL
INTO THE CURVED BRACKETS.
HERE'S AN EXAMPLE
OF THE SIX FORMATIVE STAGES.
MACHINERY NOW FLATTENS AND CUTS
BIGGER SHEETS OF STEEL
FOR THE TANK BODY.
MECHANIZED CLAMPS
GRIP THE SHEET ALONG THE EDGES
AND POSITION IT
UNDER ANOTHER PUNCH PRESS.
IT PERFORATES THE STEEL WHERE
FITTINGS ARE TO BE INSTALLED.
IT ALSO STAMPS THE COMPANY NAME
AND OTHER MANUFACTURING
INFORMATION ONTO IT.
THEY FEED THE SHEET TO A ROLLER
THAT CURLS IT INTO
THE CYLINDRICAL TANK SHELL.
THE ROLLING IS PRECISE,
AND THE DIMENSIONS
OF THE CYLINDER
DON'T NEED ANY ADJUSTING.
THE WORKER CLAMPS IT
INTO A FIXTURE.
A CARRIAGE
MOVES A WELDING TORCH OVERHEAD
TO JOIN THE ENDS
AND CREATE AN AIRTIGHT SEAL.
A WORKER INSPECTS THE WELD.
THE NEXT WORKER WELDS FITTINGS
ONTO THE HOLES PUNCHED
INTO THE TANK SHELL EARLIER.
TWO OF THE FITTINGS
ARE FOR ATTACHING VALVES
THAT CONTROL THE FLOW
OF COMPRESSED AIR.
THE THIRD FITTING WILL BE USED
TO CONNECT A LINE
FOR DRAINING WATER
FORMED DURING AIR COMPRESSION.
HE REINFORCES THE FITTINGS
WITH LARGE COLLARS
THAT HELP THE CONNECTIONS
WITHSTAND ANY BUMPS ON THE ROAD.
HE PLACES THE BRACKETS
AND END CAPS
IN AN AUTOMATIC WELDER
AND ACTIVATES IT.
IT FUSES THE BRACKET
TO THE CAP --
ONE FOR EACH OF THE AIR TANK'S
END CAPS.
WITH BOTH BRACKETED END CAPS
NOW INSTALLED
ON THE CYLINDRICAL SHELL,
IT'S TIME TO SEAL THIS AIR TANK.
THE TANK TURNS
ON A WELDING LATHE
AS AUTOMATED WELDERS
BOND THEM TO THE SHELL.
THE AIR-TANK STRUCTURE
IS NOW BASICALLY COMPLETE.
IT'S TIME TO PUT IT TO THE TEST.
AFTER PLUGGING
THE OPEN FITTINGS,
THEY PUMP HIGHLY COMPRESSED AIR
INTO THE TANK --
MORE THAN IT WOULD
USUALLY HANDLE.
IF IT CAN TAKE ALL THE PRESSURE,
IT'S DEEMED STRUCTURALLY SOUND.
THEY BRING THE PRESSURE
DOWN A BIT AND CHECK FOR LEAKS.
BUBBLES IN THE WATER AROUND IT
WOULD INDICATE
AIR IS SEEPING OUT,
BUT IN THIS CASE,
THERE ARE ONLY A FEW RIPPLES
FROM THE ACTION
OF PLACING IT IN THE WATER.
AFTER A CLEANING,
THE AIRTIGHT TANK
HEADS INTO
A POWDER-COATING STATION.
SPRAYERS APPLY THE POWDERED
RESIN COATING TO THE TANKS.
THE PARTICLES
ARE POSITIVELY CHARGED,
AND THE TANKS
ARE NEGATIVELY CHARGED
FOR AN INSTANT ATTRACTION.
THE BLACK POWDER
CLINGS TO THE TANKS
AS THEY NOW TRAVEL
THROUGH A GAS-FIRED OVEN.
THE HEAT MELTS AND BONDS
THE COATING
TO THE SURFACE
OF THE AIR-BRAKE TANKS,
FORMING A TOUGH SKIN
THAT'S RUST-RESISTANT.
AFTER THE TANKS COOL,
A WORKER INSERTS
A LONG, THIN PAINT GUN
THROUGH ONE OF THE FITTINGS
TO SPRAY A RUSTPROOF COATING
ON THE INSIDE.
HE THEN INSERTS PLUGS
INTO ALL THE FITTINGS
TO PROTECT THE THREADS
FROM DAMAGE
UNTIL THEY'RE READY TO MAKE
ALL THE NECESSARY CONNECTIONS.
IT'S TAKEN ABOUT FIVE HOURS TO
PRODUCE THESE AIR-BRAKE TANKS,
AND IT'S NOW TIME
TO PUT ON THE BRAKES.
Narrator: FROSTED CEREAL
ORIGINATED IN AMERICA
IN THE 1950s,
AND TODAY,
YOU'LL FIND VERSIONS OF IT
ON BREAKFAST TABLES
AROUND THE WORLD.
IT'S ONE OF THE FIRST THINGS
SOME PEOPLE REACH FOR
IN THE MORNING.
THE SUGARY COATING COMPLEMENTS
THE FLAVOR OF THE GRAINS.
IT'S ONE WAY
TO AWAKEN THE TASTE BUDS.
THIS PARTICULAR BLEND
OF FROSTED CEREAL
IS A COMBINATION
OF WHEAT FLAKES, CORN FLAKES,
AND GRANOLA CLUSTERS.
HALF THE FLAKES ARE FROSTED,
AND HALF AREN'T.
THERE'S HONEY, ROLLED OATS,
AND RICE IN THE GRANOLA.
THE MIX OF THE INGREDIENTS MEANS
THERE ARE STILL A FEW SURPRISES
IN THE FROSTED-CEREAL BOX.
TO MAKE THE CORN FLAKES,
THEY START WITH CORN GRITS.
THEY MEASURE OUT
A SPECIFIC AMOUNT
AND RELEASE IT
INTO AN INDUSTRIAL VERSION
OF A PRESSURE COOKER.
THE OPERATOR LOCKS THE LID,
AND THE SYSTEM PIPES WATER
AND FLAVORINGS
DIRECTLY INTO THE COOKER.
IT ROTATES FOR
AN EVEN DISTRIBUTION OF HEAT
AND AN EVEN COOKING
OF THE GRAINS.
AFTER ABOUT THREE HOURS,
THE KERNELS HAVE ABSORBED
MOISTURE AND SOFTENED.
AS THE CORN FLOWS
OUT OF THE COOKER,
A SCREW-CONVEYOR SYSTEM
MOVES IT TOWARDS A DRIER.
THEY COOK A MEASURED AMOUNT
OF WHOLE-WHEAT KERNELS
IN WATER AND FLAVORINGS.
THEY ONLY NEED AN HOUR
IN THE ROTATING PRESSURE COOKER.
LIKE THE CORN, THE WHOLE WHEAT
ABSORBS A SIGNIFICANT AMOUNT
OF WATER DURING COOKING.
THE KERNELS
ARE ABOUT 30% MOISTURE
WHEN THEY EXIT THE COOKER.
THEY NOW MERGE WITH THE CORN
EN ROUTE TO THE DRIER.
THE DRYING TIME WILL BRING
THE MOISTURE CONTENT
DOWN TO ABOUT 19%,
MAKING THE KERNELS
THE RIGHT CONSISTENCY
TO BE TRANSFORMED INTO FLAKES.
THE GRAINS NOW FLOW INTO A MILL.
THE MILL
HAS TWO BIG, HEAVY ROLLERS,
SIMILAR TO THE KIND USED
TO PAVE ROADS.
THE KERNELS FALL
BETWEEN THESE ROLLERS.
THE ROLLERS
EXERT TONS OF PRESSURE
TO FLATTEN EACH INDIVIDUAL
KERNEL INTO A FLAKE.
IN THE PROCESS,
THE WHEAT FLAKES TURN WHITER
AND THE CORN TURN MORE YELLOW.
AT THIS POINT, THE FLAKES
ARE STILL QUITE SOFT
AND NOT REALLY TASTY.
A TRIP
THROUGH A LONG TOASTER OVEN
WILL GIVE IT
THAT CRISPY CEREAL CONSISTENCY.
IT'S A HIGH-TEMPERATURE TOASTING
AND REDUCES THE MOISTURE CONTENT
TO 3%.
HERE, YOU CAN SEE THE FLAKES
BEFORE TOASTING...
AND AFTER.
THE TOASTING NOT ONLY MAKES THE
CORN AND WHEAT FLAKES CRISPY --
IT ALSO ENHANCES
THE COLOR AND FLAVOR.
A RIDE ON A CONVEYOR
COOLS THEM DOWN.
ALONG THE WAY, THEY SPLIT
INTO TWO DIFFERENT STREAMS.
ONE STREAM OF THE MIXED FLAKES
TRAVEL TOWARDS
THE SUGAR-COATING STATION.
THE OTHER HEADS INTO
A FLAVORING DRUM.
THE DRUM REVOLVES
TO GENTLY TOSS THE CEREAL
AS A SPRAYER APPLIES
A GRANOLA KIND OF FLAVORING.
THE OTHER STREAM
OF WHEAT AND CORN FLAKES
ENTERS THE SUGAR-COATING DRUM.
A SPRAYER DISPERSES
A SUGAR-AND-WATER MIXTURE
AS THE DRUM TOSSES THE FLAKES.
THEN THEY TRAVEL
THROUGH A DRIER,
AND THIS CURES THE FROSTING
TO THE FLAKES.
THE FROSTED
AND THE FLAVORED FLAKES
FLOW ONTO THE SAME CONVEYOR.
IT BOUNCES THE FLAKES AROUND
TO BLEND THEM TOGETHER.
TO BOOST THE NUTRITION CONTENT,
THEY ADD HONEY-FLAVORED GRANOLA.
THE GRANOLA CLUSTERS
FLOW ONTO A CONVEYOR.
THEY'LL MERGE WITH THE FROSTED
AND FLAVORED FLAKES.
THE FEEDER PIPE SHOWERS GRANOLA
ONTO THE FLAKES.
THIS FROSTED CEREAL IS NOW READY
FOR STORE SHELVES.
MACHINERY DISPENSES SPECIFIC
AMOUNTS INTO A PLASTIC SLEEVE,
AND A MECHANISM HEAT-SEALS
AND SEVERS IT AT BOTH ENDS.
MECHANICAL ARMS
THEN PICK UP BOXES, OPEN THEM,
AND DEPOSIT THEM ON A CONVEYOR.
PUSH RODS SHOVE THE BAGS
OF CEREAL INTO THE BOXES.
THE "BEST BEFORE" DATE
AND OTHER INFORMATION
HAVE BEEN PRINTED
ON THE OUTSIDE OF THE BOXES.
NOZZLES APPLY GLUE TO THE ENDS,
AND THE BOXES BRUSH BY A SIDE
BARRIER THAT CLOSES THEM.
PRODUCING AND PACKAGING
THIS FROSTED-CEREAL BLEND
HAS TAKEN ABOUT FIVE HOURS,
AND IF THE BREAKFAST CROWD
IS HUNGRY, IT WON'T LAST LONG.
ITS TIME ON THE TABLE
COULD BE SHORT AND SWEET.
Narrator: A FOSSIL IS A REMNANT
OF PREHISTORIC LIFE
EMBEDDED IN ROCK --
EITHER THE ACTUAL REMAINS
OF AN ANIMAL OR PLANT
OR AN IMPRESSION LEFT
BY DECAYED REMAINS.
MOST FOSSILS ARE HUNDREDS
OF MILLIONS OF YEARS OLD
AND REMIND US
THAT HUMANS HAVE BEEN AROUND
FOR A SMALL PART
OF THE EARTH'S EXISTENCE.
FOSSILS ARE MADE BY NATURE
BUT COLLECTED AND PRESERVED
BY MAN
FOR DISPLAY IN MUSEUMS, AS WELL
AS IN PRIVATE COLLECTIONS.
ONE OF THE WORLD'S
RICHEST FOSSIL DEPOSITS
IS LOCATED IN THE SOUTHWESTERN
PART OF THE STATE OF WYOMING.
50 MILLION YEARS AGO,
THE AREA WAS A FRESHWATER LAKE.
WITH CLIMATE CHANGES,
IT GRADUALLY DRIED OUT,
LEAVING WILDLIFE AND FLORA
BURIED UNDER LAYERS OF SEDIMENT.
OVER TIME, THAT SEDIMENT
HARDENED INTO SHEETS OF ROCK
CONTAINING FOSSILS
OF THOSE FORMER LIFE FORMS.
TO FIND FOSSILS IN WHAT WERE
THE SHALLOWER EDGES
OF THE PREHISTORIC LAKE,
THEY DRIVE THIN BLADES
ABOUT 4/10 OF AN INCH DEEP
TO LOOSEN AND SEPARATE SHEETS
OF ROCK.
IN THIS PART OF THE DEPOSIT,
THE FOSSIL IS OFTEN SPLIT
BETWEEN TWO LAYERS OF ROCK,
WHICH IS WHY THEY CALL
THIS PARTICULAR DIG AREA
"THE SPLIT-FISH QUARRY."
THEY REPEAT THE PROCESS,
EXCAVATING SEVERAL LAYERS.
THEY TYPICALLY FIND FOSSILS
OF SMALLER HERRING-TYPE FISH,
PLANTS, AND INSECTS.
THEY CAREFULLY SEPARATE
THE LARGE ROCK SHEETS
INTO SMALLER PIECES
SO THAT IT'S EASIER
TO TRANSPORT THEIR HAUL
FROM THE QUARRY TO THE WORKSHOP.
THIS SEDIMENTARY ROCK
IS OIL SHALE --
A SUBSTITUTE
FOR CONVENTIONAL CRUDE OIL.
SCRATCH THE SURFACE,
AND IT SMELLS, AND IT'LL BURN.
HOWEVER, THERE'S NOT ENOUGH
ACTUAL OIL IN THIS DEPOSIT
TO MAKE EXTRACTION VIABLE.
IN THE COMPANY'S SECOND QUARRY,
THEY BLOW AWAY SURFACE DEBRIS TO
MAKE IT EASIER TO SPOT FOSSILS.
RECOVERY IS MORE DIFFICULT HERE
BECAUSE THIS PART OF THE DEPOSIT
WAS THE DEEP CENTER
OF THE PREHISTORIC LAKE.
WILDLIFE WAS BURIED
UNDER FAR MORE SEDIMENT.
IT TAKES A HIGHLY TRAINED EYE
AND THE LOW ANGLE
OF MORNING SUNLIGHT
TO SEE THE SLIGHT SHADOW
WHICH A FOSSIL'S RIDGES
CAST ON THE GROUND.
AFTER OUTLINING THEIR FIND,
THEY USE A SAW WITH A DIAMOND
BLADE TO CUT AROUND IT.
THEY'VE REMOVED
THE SURROUNDING ROCK
TO BE ABLE TO SLIDE
THEIR THIN BLADES UNDERNEATH...
...THEN GENTLY EXTRACT
THEIR TREASURE.
THIS IS A TRICKY PROCEDURE.
ONE WRONG MOVE,
AND THE FOSSIL SHATTERS.
IN THE WORKSHOP,
UNDER FIVE-TIMES MAGNIFICATION
AND USING A VARIETY
OF SHARPENED TOOLS,
THEY CAREFULLY SCRAPE AWAY
THE SURFACE
UNTIL THE DARK COLOR
OF THE FOSSIL SHOWS THROUGH.
TO FULLY REVEAL
A FOSSIL THIS SIZE
TAKES 30 TO 40 HOURS
OF TEDIOUS AND METICULOUS WORK.
AS FOR THE ROCK SHEETS
FROM THE SPLIT QUARRY,
THEY SAW THE FOSSILS APART,
NEATLY FRAMING EACH ONE
WITHIN A RECTANGLE.
LAYERS FLAKE OFF MORE EASILY
FROM SPLIT-QUARRY ROCK
THAN FROM THE HARDER ROCK
OF THE OTHER QUARRY.
ONCE A FOSSIL
IS COMPLETELY EXPOSED,
THEY SEAL AND PROTECT
THE SURFACE
WITH A LIGHT COAT
OF SPRAY-ON ACRYLIC.
WHEN EXPOSING A FOSSIL,
IT'S CRITICAL
TO KEEP SHARPENING THE TOOLS
ON A DIAMOND FILE,
AND, FOR VISIBILITY,
TO REPEATEDLY CLEAN THE WORK
SURFACE WITH AN ERASER OR BRUSH.
HOW MANY LAYERS OF ROCK
HAVE TO BE SCRATCHED OFF VARIES.
A FOSSIL CAN BE SITTING
RIGHT ON THE SURFACE
OR BE BURIED A FRACTION
OF AN INCH OR SO BENEATH IT.
THIS FRESHWATER STINGRAY,
A RARE FIND,
IS ABOUT AS INTRICATE
AS A FOSSIL GETS.
THIS FELLOW TOOK
MORE THAN A MONTH TO PREPARE.
THE DETAIL OF THIS LARGE
PALM-LEAF FOSSIL IS ASTOUNDING.
YOU CAN ACTUALLY SEE
INSECT BITES.
AND AS THIS LEAF FOSSILIZED
ON THE PREHISTORIC LAKE BED,
SO DID THE FISH
SWIMMING AROUND IT,
PRODUCING AN INCREDIBLE
STONE SNAPSHOT
OF LIFE 50 MILLION YEARS AGO.
CAPTIONS PAID FOR BY
DISCOVERY COMMUNICATIONS
IF YOU HAVE ANY COMMENTS
ABOUT THE SHOW,
OR IF YOU'D LIKE TO SUGGEST
TOPICS FOR FUTURE SHOWS,
DROP US A LINE AT...
BRINGS A LOT TO THE TABLE.
IT'S KNOWN
FOR RUGGED GOOD LOOKS,
IT HOLDS UP TO HEAVY USE
AND REPEATED CLEANING
IN COMMERCIAL DISHWASHERS,
AND ITS DESIGN REFLECTS
THE RESTAURANT'S THEME
AND ADDS PRESENTATION VALUE
TO THE FOOD.
MOST PEOPLE
APPRECIATE THE EFFORT
THAT GOES INTO A FINE MEAL,
BUT THEY MAY NOT GIVE
MUCH THOUGHT TO WHAT IT TAKES
TO MAKE THE ACTUAL PLATE
THE FOOD IS SERVED UP ON.
MAKING CERAMIC DINNERWARE
THAT'S RESTAURANT-QUALITY
IS AN INTENSIVE PROCESS --
ONE THAT STARTS WITH
A MASTER DIE MADE OF GYPSUM.
THIS WORKER THEN MAKES
A PRODUCTION VERSION
OF THE MASTER.
TO DO THIS, HE POURS GYPSUM
INTO A WIRE-MESH FRAME
ABOVE THE MASTER.
THERE'S TUBING ATTACHED
TO THE MESH FRAME,
AND HE PUMPS AIR THROUGH IT.
THIS CAUSES THE WATER
IN THE GYPSUM
TO BUBBLE OUT AND EVAPORATE.
IT DRIES AND SOLIDIFIES
INTO A MIRROR IMAGE
OF THE MASTER --
IN THIS CASE, A PLATTER SHAPE.
THE TUBING
INSIDE THIS PRODUCTION DIE
WILL BE USED AGAIN LATER
TO GENTLY BLOW OFF THE PLATTER
WHEN FORMED,
RELEASING IT FROM THE DIE.
ANOTHER WORKER ADDS THE CERAMIC
INGREDIENTS TO WATER.
THEY INCLUDING
A PLASTICIZER, SILICA SAND,
DIFFERENT CLAYS,
AND MINERALS LIKE ALUMINA.
ONCE THE CLAY MIX
HAS BEEN THOROUGHLY BLENDED,
THEY DRAIN IT
ONTO A VIBRATING SIEVE
TO SCREEN OUT LARGE
MINERAL CHUNKS AND IMPURITIES.
THE CLAY-BASED LIQUID
FLOWS THROUGH THE SCREEN
INTO A HOLDING TANK.
THEY PUMP IT
THROUGH THIS FILTER PRESS.
IT COMPRESSES
FABRIC-COVERED PLASTIC PLATES
TO SQUEEZE OUT MOISTURE,
TURNING THE CLAY LIQUID
INTO PUTTY-LIKE SLABS.
WITH THIS CONSISTENCY,
IT CAN NOW BE SHAPED.
A WORKER BREAKS UP THE SLABS
AND FEEDS THE PIECES
TO A PUG MILL.
THE MILL SHAPES THE CLAY
INTO A LONG CYLINDER,
AND, IN THE PROCESS,
IT SUCKS OUT AIR
SO DINNERWARE MADE FROM IT
WILL BE LESS PRONE TO CRACKING.
HE SLICES THE CLAY CYLINDER
INTO SMALL WADS,
USING A WIRE CUTTER.
EACH OF THESE CLAY WADS
WILL BE SHAPED INTO ONE PLATE.
THEY PLACE EACH WAD ONTO MOLDS
ON A REVOLVING PLATFORM.
THE MOLD SPINS UP
TO A METAL TOOL,
WHICH PRESSES THE CLAY INTO THE
SHAPE OF THE PLATE MOLD BELOW.
THE TOOL ALSO FORMS THE BACK
SO THE PLATE WILL SIT EVENLY
ON A TABLE.
A NOZZLE LUBRICATES THE METAL
TOOL BETWEEN PRESSINGS.
A CUTTER AT THE SIDE
TRIMS THE RIMS OF THE PLATES
AS THEY'RE FORMED.
UNLIKE THE PLATTER DIE,
THESE MOLDS DON'T HAVE TUBING
INSIDE TO BLOW OFF THE PLATES.
INSTEAD, THE HEAT FROM THE DRIER
SEPARATES THEM FROM THE MOLDS.
ONCE OUT OF THE MOLDS,
THE PLATES SPIN ON PEDESTALS
PAST A SPONGE
TO SMOOTH THE EDGES.
TO MAKE COFFEE MUGS,
THE PUG MILL PRESSES OUT
A NARROWER CYLINDER,
AND A KNIFE AT THE EXIT POINT
SLICES IT INTO PRECISE WADS.
THE WADS FALL
INTO COFFEE-MUG MOLDS,
AND A TOOL SPINS THE CLAY UP
AGAINST THE WALLS OF THE MOLDS
TO SHAPE IT INTO MUGS.
A BLADE AT THE TOP
TRIMS THE EXCESS
FROM THE LIP OF THE MUG.
THEY PASS UNDER A LONG SPONGE
TO SMOOTH THE RIMS.
AND NOW FOR THE HANDLES.
THEY MAKE THEM IN TWO-PART MOLDS
AND DRY THEM
UNDER AN INFRARED LIGHT.
THE HANDLES MUST HAVE PRECISELY
THE SAME MOISTURE CONTENT
AS THE MUGS -- AROUND 16%.
A WORKER DIPS THE ENDS
OF EACH HANDLE
IN A CLAY-AND-GLUE MIXTURE
AND PRESSES IT TO THE MUG.
THE MUGS GO INTO A DRIER,
AND THE MOISTURE CONTENT
DROPS TO 4%.
NEXT, THEY DOUSE THE MUGS
WITH GLAZE INSIDE AND OUT
AND BAKE THEM
IN A SUPER-HOT KILN.
THIS WILL MAKE THE MUGS
CHIP-RESISTANT
AND WILL STRENGTHEN THE BOND
BETWEEN THE HANDLE AND THE MUG.
THEY PAINT THE DINNERWARE
BY HAND, USING A CERAMIC STAIN.
THE STAIN WILL ENABLE IT
TO HOLD UP
TO REPEATED RIGOROUS CLEANINGS
IN RESTAURANT DISHWASHERS.
FOR A DIFFERENT LOOK, THEY APPLY
DECALS TO SOME DINNERWARE.
THIS ARTWORK HAS BEEN PRODUCED
USING THE SAME HARD-WEARING
CERAMIC STAIN.
THE PLATES
THEN HEAD INTO THE OVEN,
AND THE HEAT FUSES
THE DECORATIVE TOUCHES TO THEM.
FROM A LIQUID CLAY MIX
TO TABLEWARE
YOU CAN DINE OUT ON.
THE PROCESS HAS TAKEN
ABOUT 24 HOURS.
IT SHOULD SERVE YOU WELL.
Narrator: AIR-BRAKE TANKS ARE
PART OF POWERFUL BRAKE SYSTEMS
ON TRACTOR TRAILERS AND BUSES.
WHEN THE DRIVER
DEPRESSES THE BRAKE PEDAL,
THE TANK RELEASES
THE COMPRESSED AIR
TO ACTIVATE THE BRAKES
SO THE BIG WHEELS SLOW DOWN
AND STOP TURNING.
THE ENERGY USED TO STOP
A BIG RIG COMES FROM AIR.
IT'S COMPRESSED AND STORED
IN THE BRAKE TANKS
SO THERE'S ALWAYS
A READY SUPPLY.
THEY MAKE AIR-BRAKE TANKS
FROM INDUSTRIAL-GRADE STEEL
THAT'S ABOUT AS THICK
AS A TYPICAL MAGAZINE.
A PRESS FORCES THE STEEL
AROUND A DOME FORM
AND SHEARS THE EDGES
TO PRODUCE THE TANK'S END CAPS.
IT ALSO PUNCHES A HOLE
IN EACH CAP FOR A FITTING.
THE CAP'S DOME SHAPE
IS CRITICAL.
IT WILL ALLOW IT TO WITHSTAND
THE AIR PRESSURE
INSIDE THE TANK.
THE TANK CAPS NOW RIDE
A CONVEYOR UNDER SPRAYERS
THAT WASH AWAY RESIDUAL OIL
FROM THE PRESSING PROCESS.
MORE STEEL SHEETING
FEEDS INTO ANOTHER PRESS.
IT'S TWICE AS THICK AS THE STEEL
USED TO MAKE THE END CAPS.
THIS PRESS IS PUNCHING
AND FORMING BRACKETS
FOR ATTACHING THE AIR TANK
TO THE TRAILER UNDERCARRIAGE,
SO THESE CONNECTING PARTS
HAVE TO BE EXTRA-STRONG.
IT TAKES SIX PUNCHES
TO SHAPE THE FLAT SHEET OF STEEL
INTO THE CURVED BRACKETS.
HERE'S AN EXAMPLE
OF THE SIX FORMATIVE STAGES.
MACHINERY NOW FLATTENS AND CUTS
BIGGER SHEETS OF STEEL
FOR THE TANK BODY.
MECHANIZED CLAMPS
GRIP THE SHEET ALONG THE EDGES
AND POSITION IT
UNDER ANOTHER PUNCH PRESS.
IT PERFORATES THE STEEL WHERE
FITTINGS ARE TO BE INSTALLED.
IT ALSO STAMPS THE COMPANY NAME
AND OTHER MANUFACTURING
INFORMATION ONTO IT.
THEY FEED THE SHEET TO A ROLLER
THAT CURLS IT INTO
THE CYLINDRICAL TANK SHELL.
THE ROLLING IS PRECISE,
AND THE DIMENSIONS
OF THE CYLINDER
DON'T NEED ANY ADJUSTING.
THE WORKER CLAMPS IT
INTO A FIXTURE.
A CARRIAGE
MOVES A WELDING TORCH OVERHEAD
TO JOIN THE ENDS
AND CREATE AN AIRTIGHT SEAL.
A WORKER INSPECTS THE WELD.
THE NEXT WORKER WELDS FITTINGS
ONTO THE HOLES PUNCHED
INTO THE TANK SHELL EARLIER.
TWO OF THE FITTINGS
ARE FOR ATTACHING VALVES
THAT CONTROL THE FLOW
OF COMPRESSED AIR.
THE THIRD FITTING WILL BE USED
TO CONNECT A LINE
FOR DRAINING WATER
FORMED DURING AIR COMPRESSION.
HE REINFORCES THE FITTINGS
WITH LARGE COLLARS
THAT HELP THE CONNECTIONS
WITHSTAND ANY BUMPS ON THE ROAD.
HE PLACES THE BRACKETS
AND END CAPS
IN AN AUTOMATIC WELDER
AND ACTIVATES IT.
IT FUSES THE BRACKET
TO THE CAP --
ONE FOR EACH OF THE AIR TANK'S
END CAPS.
WITH BOTH BRACKETED END CAPS
NOW INSTALLED
ON THE CYLINDRICAL SHELL,
IT'S TIME TO SEAL THIS AIR TANK.
THE TANK TURNS
ON A WELDING LATHE
AS AUTOMATED WELDERS
BOND THEM TO THE SHELL.
THE AIR-TANK STRUCTURE
IS NOW BASICALLY COMPLETE.
IT'S TIME TO PUT IT TO THE TEST.
AFTER PLUGGING
THE OPEN FITTINGS,
THEY PUMP HIGHLY COMPRESSED AIR
INTO THE TANK --
MORE THAN IT WOULD
USUALLY HANDLE.
IF IT CAN TAKE ALL THE PRESSURE,
IT'S DEEMED STRUCTURALLY SOUND.
THEY BRING THE PRESSURE
DOWN A BIT AND CHECK FOR LEAKS.
BUBBLES IN THE WATER AROUND IT
WOULD INDICATE
AIR IS SEEPING OUT,
BUT IN THIS CASE,
THERE ARE ONLY A FEW RIPPLES
FROM THE ACTION
OF PLACING IT IN THE WATER.
AFTER A CLEANING,
THE AIRTIGHT TANK
HEADS INTO
A POWDER-COATING STATION.
SPRAYERS APPLY THE POWDERED
RESIN COATING TO THE TANKS.
THE PARTICLES
ARE POSITIVELY CHARGED,
AND THE TANKS
ARE NEGATIVELY CHARGED
FOR AN INSTANT ATTRACTION.
THE BLACK POWDER
CLINGS TO THE TANKS
AS THEY NOW TRAVEL
THROUGH A GAS-FIRED OVEN.
THE HEAT MELTS AND BONDS
THE COATING
TO THE SURFACE
OF THE AIR-BRAKE TANKS,
FORMING A TOUGH SKIN
THAT'S RUST-RESISTANT.
AFTER THE TANKS COOL,
A WORKER INSERTS
A LONG, THIN PAINT GUN
THROUGH ONE OF THE FITTINGS
TO SPRAY A RUSTPROOF COATING
ON THE INSIDE.
HE THEN INSERTS PLUGS
INTO ALL THE FITTINGS
TO PROTECT THE THREADS
FROM DAMAGE
UNTIL THEY'RE READY TO MAKE
ALL THE NECESSARY CONNECTIONS.
IT'S TAKEN ABOUT FIVE HOURS TO
PRODUCE THESE AIR-BRAKE TANKS,
AND IT'S NOW TIME
TO PUT ON THE BRAKES.
Narrator: FROSTED CEREAL
ORIGINATED IN AMERICA
IN THE 1950s,
AND TODAY,
YOU'LL FIND VERSIONS OF IT
ON BREAKFAST TABLES
AROUND THE WORLD.
IT'S ONE OF THE FIRST THINGS
SOME PEOPLE REACH FOR
IN THE MORNING.
THE SUGARY COATING COMPLEMENTS
THE FLAVOR OF THE GRAINS.
IT'S ONE WAY
TO AWAKEN THE TASTE BUDS.
THIS PARTICULAR BLEND
OF FROSTED CEREAL
IS A COMBINATION
OF WHEAT FLAKES, CORN FLAKES,
AND GRANOLA CLUSTERS.
HALF THE FLAKES ARE FROSTED,
AND HALF AREN'T.
THERE'S HONEY, ROLLED OATS,
AND RICE IN THE GRANOLA.
THE MIX OF THE INGREDIENTS MEANS
THERE ARE STILL A FEW SURPRISES
IN THE FROSTED-CEREAL BOX.
TO MAKE THE CORN FLAKES,
THEY START WITH CORN GRITS.
THEY MEASURE OUT
A SPECIFIC AMOUNT
AND RELEASE IT
INTO AN INDUSTRIAL VERSION
OF A PRESSURE COOKER.
THE OPERATOR LOCKS THE LID,
AND THE SYSTEM PIPES WATER
AND FLAVORINGS
DIRECTLY INTO THE COOKER.
IT ROTATES FOR
AN EVEN DISTRIBUTION OF HEAT
AND AN EVEN COOKING
OF THE GRAINS.
AFTER ABOUT THREE HOURS,
THE KERNELS HAVE ABSORBED
MOISTURE AND SOFTENED.
AS THE CORN FLOWS
OUT OF THE COOKER,
A SCREW-CONVEYOR SYSTEM
MOVES IT TOWARDS A DRIER.
THEY COOK A MEASURED AMOUNT
OF WHOLE-WHEAT KERNELS
IN WATER AND FLAVORINGS.
THEY ONLY NEED AN HOUR
IN THE ROTATING PRESSURE COOKER.
LIKE THE CORN, THE WHOLE WHEAT
ABSORBS A SIGNIFICANT AMOUNT
OF WATER DURING COOKING.
THE KERNELS
ARE ABOUT 30% MOISTURE
WHEN THEY EXIT THE COOKER.
THEY NOW MERGE WITH THE CORN
EN ROUTE TO THE DRIER.
THE DRYING TIME WILL BRING
THE MOISTURE CONTENT
DOWN TO ABOUT 19%,
MAKING THE KERNELS
THE RIGHT CONSISTENCY
TO BE TRANSFORMED INTO FLAKES.
THE GRAINS NOW FLOW INTO A MILL.
THE MILL
HAS TWO BIG, HEAVY ROLLERS,
SIMILAR TO THE KIND USED
TO PAVE ROADS.
THE KERNELS FALL
BETWEEN THESE ROLLERS.
THE ROLLERS
EXERT TONS OF PRESSURE
TO FLATTEN EACH INDIVIDUAL
KERNEL INTO A FLAKE.
IN THE PROCESS,
THE WHEAT FLAKES TURN WHITER
AND THE CORN TURN MORE YELLOW.
AT THIS POINT, THE FLAKES
ARE STILL QUITE SOFT
AND NOT REALLY TASTY.
A TRIP
THROUGH A LONG TOASTER OVEN
WILL GIVE IT
THAT CRISPY CEREAL CONSISTENCY.
IT'S A HIGH-TEMPERATURE TOASTING
AND REDUCES THE MOISTURE CONTENT
TO 3%.
HERE, YOU CAN SEE THE FLAKES
BEFORE TOASTING...
AND AFTER.
THE TOASTING NOT ONLY MAKES THE
CORN AND WHEAT FLAKES CRISPY --
IT ALSO ENHANCES
THE COLOR AND FLAVOR.
A RIDE ON A CONVEYOR
COOLS THEM DOWN.
ALONG THE WAY, THEY SPLIT
INTO TWO DIFFERENT STREAMS.
ONE STREAM OF THE MIXED FLAKES
TRAVEL TOWARDS
THE SUGAR-COATING STATION.
THE OTHER HEADS INTO
A FLAVORING DRUM.
THE DRUM REVOLVES
TO GENTLY TOSS THE CEREAL
AS A SPRAYER APPLIES
A GRANOLA KIND OF FLAVORING.
THE OTHER STREAM
OF WHEAT AND CORN FLAKES
ENTERS THE SUGAR-COATING DRUM.
A SPRAYER DISPERSES
A SUGAR-AND-WATER MIXTURE
AS THE DRUM TOSSES THE FLAKES.
THEN THEY TRAVEL
THROUGH A DRIER,
AND THIS CURES THE FROSTING
TO THE FLAKES.
THE FROSTED
AND THE FLAVORED FLAKES
FLOW ONTO THE SAME CONVEYOR.
IT BOUNCES THE FLAKES AROUND
TO BLEND THEM TOGETHER.
TO BOOST THE NUTRITION CONTENT,
THEY ADD HONEY-FLAVORED GRANOLA.
THE GRANOLA CLUSTERS
FLOW ONTO A CONVEYOR.
THEY'LL MERGE WITH THE FROSTED
AND FLAVORED FLAKES.
THE FEEDER PIPE SHOWERS GRANOLA
ONTO THE FLAKES.
THIS FROSTED CEREAL IS NOW READY
FOR STORE SHELVES.
MACHINERY DISPENSES SPECIFIC
AMOUNTS INTO A PLASTIC SLEEVE,
AND A MECHANISM HEAT-SEALS
AND SEVERS IT AT BOTH ENDS.
MECHANICAL ARMS
THEN PICK UP BOXES, OPEN THEM,
AND DEPOSIT THEM ON A CONVEYOR.
PUSH RODS SHOVE THE BAGS
OF CEREAL INTO THE BOXES.
THE "BEST BEFORE" DATE
AND OTHER INFORMATION
HAVE BEEN PRINTED
ON THE OUTSIDE OF THE BOXES.
NOZZLES APPLY GLUE TO THE ENDS,
AND THE BOXES BRUSH BY A SIDE
BARRIER THAT CLOSES THEM.
PRODUCING AND PACKAGING
THIS FROSTED-CEREAL BLEND
HAS TAKEN ABOUT FIVE HOURS,
AND IF THE BREAKFAST CROWD
IS HUNGRY, IT WON'T LAST LONG.
ITS TIME ON THE TABLE
COULD BE SHORT AND SWEET.
Narrator: A FOSSIL IS A REMNANT
OF PREHISTORIC LIFE
EMBEDDED IN ROCK --
EITHER THE ACTUAL REMAINS
OF AN ANIMAL OR PLANT
OR AN IMPRESSION LEFT
BY DECAYED REMAINS.
MOST FOSSILS ARE HUNDREDS
OF MILLIONS OF YEARS OLD
AND REMIND US
THAT HUMANS HAVE BEEN AROUND
FOR A SMALL PART
OF THE EARTH'S EXISTENCE.
FOSSILS ARE MADE BY NATURE
BUT COLLECTED AND PRESERVED
BY MAN
FOR DISPLAY IN MUSEUMS, AS WELL
AS IN PRIVATE COLLECTIONS.
ONE OF THE WORLD'S
RICHEST FOSSIL DEPOSITS
IS LOCATED IN THE SOUTHWESTERN
PART OF THE STATE OF WYOMING.
50 MILLION YEARS AGO,
THE AREA WAS A FRESHWATER LAKE.
WITH CLIMATE CHANGES,
IT GRADUALLY DRIED OUT,
LEAVING WILDLIFE AND FLORA
BURIED UNDER LAYERS OF SEDIMENT.
OVER TIME, THAT SEDIMENT
HARDENED INTO SHEETS OF ROCK
CONTAINING FOSSILS
OF THOSE FORMER LIFE FORMS.
TO FIND FOSSILS IN WHAT WERE
THE SHALLOWER EDGES
OF THE PREHISTORIC LAKE,
THEY DRIVE THIN BLADES
ABOUT 4/10 OF AN INCH DEEP
TO LOOSEN AND SEPARATE SHEETS
OF ROCK.
IN THIS PART OF THE DEPOSIT,
THE FOSSIL IS OFTEN SPLIT
BETWEEN TWO LAYERS OF ROCK,
WHICH IS WHY THEY CALL
THIS PARTICULAR DIG AREA
"THE SPLIT-FISH QUARRY."
THEY REPEAT THE PROCESS,
EXCAVATING SEVERAL LAYERS.
THEY TYPICALLY FIND FOSSILS
OF SMALLER HERRING-TYPE FISH,
PLANTS, AND INSECTS.
THEY CAREFULLY SEPARATE
THE LARGE ROCK SHEETS
INTO SMALLER PIECES
SO THAT IT'S EASIER
TO TRANSPORT THEIR HAUL
FROM THE QUARRY TO THE WORKSHOP.
THIS SEDIMENTARY ROCK
IS OIL SHALE --
A SUBSTITUTE
FOR CONVENTIONAL CRUDE OIL.
SCRATCH THE SURFACE,
AND IT SMELLS, AND IT'LL BURN.
HOWEVER, THERE'S NOT ENOUGH
ACTUAL OIL IN THIS DEPOSIT
TO MAKE EXTRACTION VIABLE.
IN THE COMPANY'S SECOND QUARRY,
THEY BLOW AWAY SURFACE DEBRIS TO
MAKE IT EASIER TO SPOT FOSSILS.
RECOVERY IS MORE DIFFICULT HERE
BECAUSE THIS PART OF THE DEPOSIT
WAS THE DEEP CENTER
OF THE PREHISTORIC LAKE.
WILDLIFE WAS BURIED
UNDER FAR MORE SEDIMENT.
IT TAKES A HIGHLY TRAINED EYE
AND THE LOW ANGLE
OF MORNING SUNLIGHT
TO SEE THE SLIGHT SHADOW
WHICH A FOSSIL'S RIDGES
CAST ON THE GROUND.
AFTER OUTLINING THEIR FIND,
THEY USE A SAW WITH A DIAMOND
BLADE TO CUT AROUND IT.
THEY'VE REMOVED
THE SURROUNDING ROCK
TO BE ABLE TO SLIDE
THEIR THIN BLADES UNDERNEATH...
...THEN GENTLY EXTRACT
THEIR TREASURE.
THIS IS A TRICKY PROCEDURE.
ONE WRONG MOVE,
AND THE FOSSIL SHATTERS.
IN THE WORKSHOP,
UNDER FIVE-TIMES MAGNIFICATION
AND USING A VARIETY
OF SHARPENED TOOLS,
THEY CAREFULLY SCRAPE AWAY
THE SURFACE
UNTIL THE DARK COLOR
OF THE FOSSIL SHOWS THROUGH.
TO FULLY REVEAL
A FOSSIL THIS SIZE
TAKES 30 TO 40 HOURS
OF TEDIOUS AND METICULOUS WORK.
AS FOR THE ROCK SHEETS
FROM THE SPLIT QUARRY,
THEY SAW THE FOSSILS APART,
NEATLY FRAMING EACH ONE
WITHIN A RECTANGLE.
LAYERS FLAKE OFF MORE EASILY
FROM SPLIT-QUARRY ROCK
THAN FROM THE HARDER ROCK
OF THE OTHER QUARRY.
ONCE A FOSSIL
IS COMPLETELY EXPOSED,
THEY SEAL AND PROTECT
THE SURFACE
WITH A LIGHT COAT
OF SPRAY-ON ACRYLIC.
WHEN EXPOSING A FOSSIL,
IT'S CRITICAL
TO KEEP SHARPENING THE TOOLS
ON A DIAMOND FILE,
AND, FOR VISIBILITY,
TO REPEATEDLY CLEAN THE WORK
SURFACE WITH AN ERASER OR BRUSH.
HOW MANY LAYERS OF ROCK
HAVE TO BE SCRATCHED OFF VARIES.
A FOSSIL CAN BE SITTING
RIGHT ON THE SURFACE
OR BE BURIED A FRACTION
OF AN INCH OR SO BENEATH IT.
THIS FRESHWATER STINGRAY,
A RARE FIND,
IS ABOUT AS INTRICATE
AS A FOSSIL GETS.
THIS FELLOW TOOK
MORE THAN A MONTH TO PREPARE.
THE DETAIL OF THIS LARGE
PALM-LEAF FOSSIL IS ASTOUNDING.
YOU CAN ACTUALLY SEE
INSECT BITES.
AND AS THIS LEAF FOSSILIZED
ON THE PREHISTORIC LAKE BED,
SO DID THE FISH
SWIMMING AROUND IT,
PRODUCING AN INCREDIBLE
STONE SNAPSHOT
OF LIFE 50 MILLION YEARS AGO.
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