How It's Made (2001–…): Season 9, Episode 6 - Padlocks/Hair Clippers/Wooden Shoes/Synthetic Leather - full transcript
CAPTIONS PAID FOR BY DISCOVERY
COMMUNICATIONS, LLC
>> Narrator: TODAY ON
"HOW IT'S MADE"...
PADLOCKS...
HAIR CLIPPERS...
WOODEN SHOES...
AND SYNTHETIC LEATHER.
AS LONG AS THERE HAVE BEEN
THIEVES, THERE'S BEEN A NEED FOR
LOCKS.
PADLOCKS DATE BACK TO ROMAN
TIMES AND WERE LIKELY FIRST USED
TO PROTECT CARGO IN TRANSIT.
THOUSANDS OF YEARS LATER, THE
PADLOCK CONTINUES TO KEEP
BURGLARS AT BAY.
THE MODERN PADLOCK'S STRONGEST
FEATURE IS ITS LOCK BODY.
THE PROCESS BEGINS WITH A STACK
OF 24 STEEL PLATES THAT ARE
LAMINATED TOGETHER, THE SAME
TECHNOLOGY THAT'S USED TO MAKE
DOORS FOR BANK VAULTS.
A PUNCH PRESS CUTS AND SHAPES
PIECES OF STEEL INTO CAPS THAT
WILL BE RIVETED TO THE LOCK
BODIES.
THE RIVETS TUMBLE DOWN A FEEDER.
WHILE BELOW, AN OPERATOR PLACES
A LOCK BODY AND A CAP INTO A
FIXTURE.
A POWERFUL PRESS THEN DRIVES THE
RIVETS INTO THE ASSEMBLY,
SECURING THE TOP CAP TO THE LOCK
BODY.
AT ANOTHER STATION, CUTTERS
CONTOUR STEEL RODS SO THEY'LL
FIT INTO THE LOCK BODY'S HOLES
WHILE LUBRICANT KEEPS THINGS
COOL.
THE FINISHED RODS ARE NOW READY
TO BE SHAPED.
WORKERS LOAD THEM INTO A FORM
PRESS.
THIS MACHINE BENDS THE STEEL AS
EASILY AS YOU COULD BEND A PIPE
CLEANER TO MAKE A U-SHAPED
SHACKLE.
THEN THE SHACKLES ROLL INTO A
FURNACE FOR TEMPERING, A PROCESS
THAT MAKES THE STEEL EVEN
STRONGER.
AFTER A LITTLE MORE MACHINING,
THE SHACKLE IS READY TO BE
INSTALLED.
THIS SHACKLE WILL NEED TO MOVE
UP AND DOWN AS THE LOCK IS
OPENED AND CLOSED.
AND THAT'S WHERE THESE BALL
BEARINGS COME IN.
TWO OF THEM ARE SLIPPED INTO THE
LOCK CAVITY.
LUBRICANT GEL AIDS THE PROCESS.
WORKERS USE IT TO GREASE THE
INSIDE OF THE LOCK WHILE THEY
PUSH THE BALL BEARINGS TO EITHER
SIDE OF THE CAVITY.
A CYLINDER EXTENSION IS INSERTED
BETWEEN THE BALL BEARINGS, THEN
A PROTECTIVE CASING AND BUMPER
SLIDE OVER THE LOCK.
NOW IT'S TIME FOR FINAL
ASSEMBLY.
A MACHINE LOADS COPPER-PLATED
SHELLS ONTO MANDRELS.
PLUGS, PINS AND SPRINGS FUNNEL
INTO THE LOCK ASSEMBLY STATION.
A DEVICE INSTALLS PINS AND
SPRINGS IN A LOCK SHELL.
THE SHELL SLIDES ONTO A BRASS
PLUG.
A KEY-SHAPED GROOVE IS CUT INTO
THE PLUG, TRANSFORMING IT INTO A
LOCK CYLINDER.
A CARBIDE CUTTER NOTCHES THE
MATCHING KEYS.
THERE ARE TENS OF THOUSANDS OF
KEY PROFILES.
THIS SORTING STATION HOLDS JUST
A FEW.
THE KEYS AND LOCK CYLINDERS ARE
ALL NUMBERED.
THIS WORKER MATCHES THEM UP,
MAKING SURE THERE ARE TWO KEYS
FOR EACH LOCK.
SHE SELECTS A PADLOCK AND PUSHES
ONE OF THE LOCK CYLINDERS INTO
IT.
THEN SHE TOPS IT OFF WITH A
RETENTION PLATE.
A MACHINE PRESS FITS THE PLATE
TO THE BOTTOM OF THE PADLOCK.
THIS SECURES THE LOCK CYLINDER.
A SPRING FOR THE SHACKLE IS
INSERTED, AND THE BOTTOM CAP
GOES ON NEXT.
THEN THE ENTIRE ASSEMBLY IS
RIVETED TOGETHER.
EACH KEY IS TESTED TO MAKE SURE
IT MATCHES.
A COMPUTERIZED SYSTEM OPENS AND
CLOSES A RANDOMLY SELECTED
PADLOCK THOUSANDS OF TIMES TO
MAKE SURE IT'S UP TO THE JOB.
THE LOCK ALSO HAS TO HOLD UP TO
FORCE.
WEIGHTS ARE DROPPED TO REPLICATE
A HAMMER BLOW.
AND THE PADLOCK WITHSTANDS THE
STRIKE.
THIS DAY'S WORK IS DONE.
IT'S TIME FOR THE FOLKS AT THE
FACTORY TO "LOCK UP" FOR THE
DAY.
UP NEXT, MAKING THE CUT AT A
HAIR-CLIPPER FACTORY.
>> Narrator: THE ELECTRIC HAIR
CLIPPER WAS INVENTED IN 1919.
IT WAS THE FIRST CLIPPER WITH A
MOTOR IN THE ACTUAL UNIT,
ALLOWING THE BARBER TO CUT HAIR
AT QUITE A CLIP.
HAIRSTYLES MAY CHANGE, BUT THIS
DEVICE IS STILL ON THE CUTTING
EDGE.
THESE DAYS, HAIR-CLIPPER CASINGS
ARE MADE OUT OF HEAVY-DUTY
PLASTIC.
AN AUTOMATED MOLD MELTS AND
SHAPES THE PLASTIC MATERIAL INTO
CASING PARTS.
MEANWHILE, A ROBOT PICKS UP
BRASS CONTACTS AND PLACES THEM
IN FIXTURES.
A PLASTIC SWITCH IS THEN
ATTACHED TO EACH CONTACT.
A BLAST OF AIR SENDS THE
ASSEMBLED PIECE TO A BIN.
HERE, A ROBOT SLIDES A PLASTIC
SPOOL ONTO A MANDREL, THEN
ANCHORS COPPER WIRE TO IT.
THE WIRE IS WOUND AROUND THE
SPOOL MORE THAN 2,000 TIMES TO
MAKE PART OF THE ELECTRIC RELAY
THAT WILL DRIVE THE BLADES.
POLICE KEEP THE WIRE FED AT AN
EVEN TENSION.
NEXT, ROBOTS WORK ON THE
CLIPPER'S LOWER CASING.
ONE INSTALLS A BLADE SLIDE FOR
ADJUSTING THE BLADE, AND ANOTHER
ATTACHES THE LEVER THAT CONTROLS
THAT SLIDE.
AN AUTOMATED SCREWDRIVER FASTENS
EVERYTHING TOGETHER.
THE CLIPPER ASSEMBLY IS THEN ON
ITS WAY TO HAVE A METAL ARM
INSTALLED.
THIS PIECE WILL MOVE THE CUTTING
BLADE.
AND FOR THAT, IT WILL NEED A
COUPLE OF SPRINGS.
NEXT, THE SWITCH ASSEMBLY GOES
IN.
AND THEN THE ARM IS SCREWED INTO
PLACE.
WORKERS INSTALL A SCREW FOR
ADJUSTING THE POWER SETTING.
AND NOW THEY FIT THE COPPER WIRE
COIL INTO THE LOWER HOUSING
WHERE IT WILL DRIVE THAT METAL
ARM.
A POWER CORD IS RUN FROM THE
SWITCH TO THE COIL.
AND NOW THE CLIPPER'S INNER
WORKINGS ARE COMPLETE.
OVER AT ANOTHER STATION, A PUNCH
PRESS STAMPS OUT CLIPPER BLADES.
THE BLADES ARE TOOTHLESS TO
START.
BUT AFTER A GOOD WASHING AND
HEAT TREATMENT, THEY HEAD OVER
TO ANOTHER STATION TO GET SOME
TEETH.
A WORKER RU3S A BLADE INTO A
FIXTURE TO HOLD IT STEADY, THEN
A JAGGED CYLINDRICAL CUTTER
CARVES THE TEETH.
COOLANT KEEPS THE PROCESS FROM
OVERHEATING AND COMPROMISING THE
INTEGRITY OF THE STEEL.
EACH HAIR CLIPPER HAS TWO
BLADES.
THE FIRST ONE HAS CUTTING TEETH
WHICH MOVES OVER THE SECOND, A
LARGER, STATIONARY BLADE THAT
ENSNARES THE HAIRS SO THAT THEY
CAN BE CUT.
NEXT, THE COMPANY'S LOGO IS
PRINTED ON TO THE CLIPPER'S LID.
AND THE LID IS ATTACHED TO THE
CASING THAT HOLDS THE ELECTRICAL
COMPONENTS.
WORKERS MOUNT THE BLADES ON THE
HEAD OF THE CLIPPER FOR THAT
DOUBLE-EDGED CUTTING ACTION.
AND FINALLY, EACH CLIPPER IS
TUNED FOR OPTIMUM PERFORMANCE BY
ADJUSTING THAT POWER SCREW THAT
WAS INSTALLED EARLIER.
THESE CLIPPERS COME IN A KIT
THAT INCLUDES SOME ADDITIONAL
ACCESSORIES FOR THOSE CONSUMERS
WHO WANT TO TRY THEIR HAND AT A
LITTLE HOME GROOMING.
NOW THESE ELECTRIC HAIR CLIPPERS
ARE READY TO GET BUZZING.
WITH THOSE SHARP BLADES, THEY'LL
MAKE SHORT WORK OF ANY "HAIRY"
SITUATION.
COMING UP, THE ART OF THE WOODEN
SHOE.
>> Narrator: CALL THEM THE POOR
MAN'S ANSWER TO THE RUBBER BOOT.
CENTURIES AGO, FARMERS CHIPPED
OUT HOLES IN WOODEN BLOCKS TO
KEEP THEIR FEET DRY.
OVER THE YEARS, THE BLOCKS WERE
REFINED INTO INEXPENSIVE BUT
DURABLE FOOTWEAR.
TODAY THEY'RE MOST COMMONLY
ASSOCIATED WITH THE HISTORY AND
TRADITION OF THE NETHERLANDS.
HOW THEY'RE MADE REMAINS AS
BASIC AS THE SHOE ITSELF.
MOST WOODEN SHOES ARE CRAFTED
FROM RU3LAR, A WOOD THAT'S EASY
TO CARVE AND GENERALLY FREE OF
KNOTS, SO THE WEARER WON'T
ENCOUNTER ANY SPLINTERS.
A WORKER FEEDS PIECES OF RU3LAR
INTO A BAND SAW, CAREFUL TO TOSS
ANY PIECES WITH DEFECTS.
THE BLADE SLICES THE WOOD INTO
BLOCKS CALLED BLANKS.
THE FACTORY USES VINYL PATTERNS
LIKE THIS ONE TO CREATE THE
SHAPE OF THE SHOE.
THERE'S A PATTERN FOR EACH SIZE
OF EVERY CLOG STYLE.
A WORKER LOCKS THE PATTERN INTO
A DUPLICATION MACHINE CALLED THE
SHAPER, THEN RIGHT NEXT TO IT,
TWO BLANKS.
AS THIS TRACER MOVES OVER THE
SHAPE OF THE PATTERN, THE WHEEL
ON THE LEFT COPIES ITS MOVEMENTS
EXACTLY, ITS BLADE SHAVING THE
WOOD AS IT MOVES UP AND DOWN.
THERE'S ONLY ONE PATTERN LOADED,
YET THE MACHINE CARVES OUT A
PAIR OF SHOES.
THAT'S BECAUSE THE WHEEL ON THE
FAR LEFT SPINS IN THE OPPOSITE
DIRECTION.
SO AS THE BLADE SAWS AWAY, IT'S
CREATING TWO MIRROR IMAGE
COPIES.
THAT ALLOWS THE MACHINE TO CARVE
OUT BOTH A RIGHT AND A LEFT SHOE
SIMULTANEOUSLY.
NOW FOR THE INSTEP.
A WORKER POSITIONS THE BLANKS ON
TO WHAT'S CALLED A DUAL-ACTION
BORING MACHINE.
THE CENTER ROD IS CALLED A
TASKER.
ITS ROLLING HEAD FOLLOWS THE
CURVES INSIDE THE PATTERN.
SPOON BITS ON EITHER SIDE OF IT
COPY THE TASKER'S MOVEMENTS,
GRADUALLY CARVING OUT THE INSIDE
OF THE SHOES.
NOW WORKERS SHIFT THE ANGLE SO
THE SPOON BITS CAN GET IN
DEEPER, BORING ALL THE WAY TO
THE FRONT OF THE SHOE.
ALL THAT CARVING MAKES FOR A LOT
OF WOOD CHIPS.
AFTER A DRYING PERIOD, THE TOE
KNOBS ARE CUT OFF WITH A BAND
SAW, AND THE CLOGS ARE INSPECTED
FOR ANY FLAWS.
A DISK SANDER GRINDS DOWN THE
KNOB ON THE HEEL AND REFINES THE
SHAPE OF THE TOE.
THE SHOEMAKER USES A BARREL
SANDER TO SMOOTH OUT THE OPENING
THEN THEY SWITCH TO A BALLOON
SANDER.
THIS SANDER HAS AN AIR-FILLED
SACK INSIDE IT THAT FLEXES TO
THE SHAPE OF THE SHOE.
NOW FOR THE FINAL STEP.
AN ARTIST LAYS CARBON PAPER ON
THE SHOE AND A PATTERN ON TOP OF
THAT.
THEN SHE TRACES THE PATTERN.
THE CARBON SHEET TRANSFERS THE
DESIGN TO THE WOOD.
NOW SHE GOES OVER THE DESIGN
WITH A WOODBURNER.
SHE CHANGES TIPS AND VARIES THE
TEMPERATURE ACCORDING TO THE
SIZE AND DEPTH OF THE LINES
SHE'S BURNING.
THIS DESIGN COMMEMORATES
HOLLAND -- HOLLAND, MICHIGAN,
THAT IS.
THE ARTIST NOW USES WATER-BASED
PAINTS TO ENHANCE THE SCENE WITH
COLOR.
SHE APPLIES THREE COATS OF A
WATER-BASED VARNISH TO PRESERVE
THE ARTWORK AND HELP KEEP THE
SHOES CLEAN.
WHILE MOST CLOG-WEARING FARMERS
OPT FOR A PLAINER VERSION, TRUE
CLOGAHOLICS APPRECIATE A LITTLE
PIZZAZZ.
BUT THEY'LL LEAVE CRAFTING THE
CLOGS TO THE EXPERTS, BECAUSE
THEY'VE GOT SOME PRETTY BIG
SHOES TO FILL.
WHEN WE RETURN, THE KNOW-HOW
BEHIND FAUX COW.
>> Narrator: IS IT LEATHER OR IS
IT PLEATHER?
IT'S NOT ALWAYS EASY TO SPOT
THE FAKE.
SYNTHETIC LEATHER, OR PLEATHER,
CAN LOOK AND FEEL VERY MUCH LIKE
REAL COWHIDE.
IT MAY NOT BE THE GENUINE
ARTICLE, BUT TODAY, PLENTY OF
GOOD-LOOKING PRODUCTS ARE MADE
FROM THIS RU3ULAR MATERIAL.
THE RECIPE FOR SYNTHETIC LEATHER
BEGINS WITH A PETROLEUM-BASED
PLASTERIZER DUMPED INTO A MIXING
TUB.
AN ULTRAVIOLET-LIGHT STABILIZER
IS ADDED TO PROVIDE PROTECTION
FROM THE SUN'S RAYS.
AND THEN A FLAME-RETARDANT
SOLUTION FOR A LITTLE
FIREPROOFING.
POWDERED VINYL IS ADDED UNTIL
THE MIX REACHES THE CONSISTENCY
OF PANCAKE BATTER.
NEXT, DIFFERENT DYES ARE POURED
INTO ANOTHER TUB, FOLLOWING A
FORMULA FOR A SPECIFIC SHADE.
THE LIQUID-VINYL MIX IS THEN
PIPED INTO THE TUB WITH THE
COLORING AGENTS.
NOW A BIG ROLL OF PAPER WITH A
LEATHER-LIKE TEXTURE UNWINDS
INTO THE COATING MACHINE.
AS TINTED LIQUID VINYL FLOWS
INTO THE MACHINE, A MIXING ARM
AGITATES IT, AND ROLLERS BELOW
APPLY IT TO THE PAPER.
THE VINYL-COATED PAPER THEN
TRAVELS THROUGH AN OVEN.
THE VINYL HARDENS, TAKING ON THE
PAPER'S TEXTURE.
THIS FIRST LAYER IS A THIN ONE
TO ESTABLISH THE SURFACE GRAIN.
A SECOND BATCH OF VINYL WILL
CONTAIN A THICKENING AGENT.
THAT'S WHY THEY CALL IT "THE
FOAM."
IT WILL GIVE THE FABRIC SHAPE
AND STRUCTURE.
WORKERS POUR THIS SECOND VINYL
CONCOCTION INTO THE COATING
MACHINE, WHICH ROLLS IT ON TOP
OF THE FIRST LAYER.
THE DOUBLE-LAYERED VINYL THEN
TRAVELS THROUGH ANOTHER OVEN.
THE HEAT ACTIVATES THE
THICKENING AGENT CAUSING THE
SECOND LAYER TO EXPAND.
ONCE THE EXPANDED VINYL IS
HARDENED, IT GETS A FABRIC
BACKING.
A MACHINE THEN PEELS AWAY THE
PAPER TO REVEAL THE TEXTURED
FIRST LAYER.
SOMETIMES A PATTERN IS PRINTED
ONTO THE VINYL TO MAKE IT LOOK
BURNISHED OR TWO-TONED.
THEN WORKERS MIX A SOLUTION TO
BUILD UP THE MATERIAL'S
DURABILITY.
ROLLERS APPLY IT TO THE
SYNTHETIC LEATHER, FINISHING OFF
THIS PRODUCTION RUN.
BUT THIS PLEATHER ISN'T QUITE
READY TO BE SHIPPED OUT.
SAMPLES FROM EVERY RUN UNDERGO A
BATTERY OF TESTS.
THIS MACHINE RUBS THE FABRIC UP
TO THREE MILLION TIMES TO SEE
HOW IT WEARS.
THEN THERE'S A STRETCH TEST.
A WEIGHT IS FASTENED TO A STRIP
OF SYNTHETIC LEATHER.
THE WEIGHT PULLS THE SWATCH TO
DOUBLE ITS LENGTH, BUT IT
DOESN'T TEAR, WHICH MEANS THIS
FABRIC HAS A LOT OF GIVE.
NEXT, A TRIAL BY FIRE.
TO PASS THIS TEST, THE FABRIC
MUST SELF-EXTINGUISH IN TWO
SECONDS.
AND IT DOES...
THANKS TO THE FLAME RETARDANT
THAT WENT INTO PRODUCTION.
NEXT, A CUTTING IS PLACED IN A
FRAMEWORK...
AND HEATED IN AN OVEN TO
INCREASE ITS PLIABILITY.
A VACUUM MOLD SUCKS THE FABRIC
TO ITS FORM, PROVING THIS SAMPLE
ALSO HAS SOME THERMOPLASTIC
QUALITIES.
YOU CAN'T DO THIS WITH REAL
LEATHER.
WITH SO MANY PRINTS, TEXTURES
AND COLORS NOW IN PRODUCTION,
THIS PRODUCT SEEMS TO HAVE
EVERYTHING "COVERED."
IF YOU HAVE ANY COMMENTS ABOUT
THE SHOW OR IF YOU'D LIKE
TO SUGGEST TOPICS FOR FUTURE
SHOWS, DROP US A LINE AT...
COMMUNICATIONS, LLC
>> Narrator: TODAY ON
"HOW IT'S MADE"...
PADLOCKS...
HAIR CLIPPERS...
WOODEN SHOES...
AND SYNTHETIC LEATHER.
AS LONG AS THERE HAVE BEEN
THIEVES, THERE'S BEEN A NEED FOR
LOCKS.
PADLOCKS DATE BACK TO ROMAN
TIMES AND WERE LIKELY FIRST USED
TO PROTECT CARGO IN TRANSIT.
THOUSANDS OF YEARS LATER, THE
PADLOCK CONTINUES TO KEEP
BURGLARS AT BAY.
THE MODERN PADLOCK'S STRONGEST
FEATURE IS ITS LOCK BODY.
THE PROCESS BEGINS WITH A STACK
OF 24 STEEL PLATES THAT ARE
LAMINATED TOGETHER, THE SAME
TECHNOLOGY THAT'S USED TO MAKE
DOORS FOR BANK VAULTS.
A PUNCH PRESS CUTS AND SHAPES
PIECES OF STEEL INTO CAPS THAT
WILL BE RIVETED TO THE LOCK
BODIES.
THE RIVETS TUMBLE DOWN A FEEDER.
WHILE BELOW, AN OPERATOR PLACES
A LOCK BODY AND A CAP INTO A
FIXTURE.
A POWERFUL PRESS THEN DRIVES THE
RIVETS INTO THE ASSEMBLY,
SECURING THE TOP CAP TO THE LOCK
BODY.
AT ANOTHER STATION, CUTTERS
CONTOUR STEEL RODS SO THEY'LL
FIT INTO THE LOCK BODY'S HOLES
WHILE LUBRICANT KEEPS THINGS
COOL.
THE FINISHED RODS ARE NOW READY
TO BE SHAPED.
WORKERS LOAD THEM INTO A FORM
PRESS.
THIS MACHINE BENDS THE STEEL AS
EASILY AS YOU COULD BEND A PIPE
CLEANER TO MAKE A U-SHAPED
SHACKLE.
THEN THE SHACKLES ROLL INTO A
FURNACE FOR TEMPERING, A PROCESS
THAT MAKES THE STEEL EVEN
STRONGER.
AFTER A LITTLE MORE MACHINING,
THE SHACKLE IS READY TO BE
INSTALLED.
THIS SHACKLE WILL NEED TO MOVE
UP AND DOWN AS THE LOCK IS
OPENED AND CLOSED.
AND THAT'S WHERE THESE BALL
BEARINGS COME IN.
TWO OF THEM ARE SLIPPED INTO THE
LOCK CAVITY.
LUBRICANT GEL AIDS THE PROCESS.
WORKERS USE IT TO GREASE THE
INSIDE OF THE LOCK WHILE THEY
PUSH THE BALL BEARINGS TO EITHER
SIDE OF THE CAVITY.
A CYLINDER EXTENSION IS INSERTED
BETWEEN THE BALL BEARINGS, THEN
A PROTECTIVE CASING AND BUMPER
SLIDE OVER THE LOCK.
NOW IT'S TIME FOR FINAL
ASSEMBLY.
A MACHINE LOADS COPPER-PLATED
SHELLS ONTO MANDRELS.
PLUGS, PINS AND SPRINGS FUNNEL
INTO THE LOCK ASSEMBLY STATION.
A DEVICE INSTALLS PINS AND
SPRINGS IN A LOCK SHELL.
THE SHELL SLIDES ONTO A BRASS
PLUG.
A KEY-SHAPED GROOVE IS CUT INTO
THE PLUG, TRANSFORMING IT INTO A
LOCK CYLINDER.
A CARBIDE CUTTER NOTCHES THE
MATCHING KEYS.
THERE ARE TENS OF THOUSANDS OF
KEY PROFILES.
THIS SORTING STATION HOLDS JUST
A FEW.
THE KEYS AND LOCK CYLINDERS ARE
ALL NUMBERED.
THIS WORKER MATCHES THEM UP,
MAKING SURE THERE ARE TWO KEYS
FOR EACH LOCK.
SHE SELECTS A PADLOCK AND PUSHES
ONE OF THE LOCK CYLINDERS INTO
IT.
THEN SHE TOPS IT OFF WITH A
RETENTION PLATE.
A MACHINE PRESS FITS THE PLATE
TO THE BOTTOM OF THE PADLOCK.
THIS SECURES THE LOCK CYLINDER.
A SPRING FOR THE SHACKLE IS
INSERTED, AND THE BOTTOM CAP
GOES ON NEXT.
THEN THE ENTIRE ASSEMBLY IS
RIVETED TOGETHER.
EACH KEY IS TESTED TO MAKE SURE
IT MATCHES.
A COMPUTERIZED SYSTEM OPENS AND
CLOSES A RANDOMLY SELECTED
PADLOCK THOUSANDS OF TIMES TO
MAKE SURE IT'S UP TO THE JOB.
THE LOCK ALSO HAS TO HOLD UP TO
FORCE.
WEIGHTS ARE DROPPED TO REPLICATE
A HAMMER BLOW.
AND THE PADLOCK WITHSTANDS THE
STRIKE.
THIS DAY'S WORK IS DONE.
IT'S TIME FOR THE FOLKS AT THE
FACTORY TO "LOCK UP" FOR THE
DAY.
UP NEXT, MAKING THE CUT AT A
HAIR-CLIPPER FACTORY.
>> Narrator: THE ELECTRIC HAIR
CLIPPER WAS INVENTED IN 1919.
IT WAS THE FIRST CLIPPER WITH A
MOTOR IN THE ACTUAL UNIT,
ALLOWING THE BARBER TO CUT HAIR
AT QUITE A CLIP.
HAIRSTYLES MAY CHANGE, BUT THIS
DEVICE IS STILL ON THE CUTTING
EDGE.
THESE DAYS, HAIR-CLIPPER CASINGS
ARE MADE OUT OF HEAVY-DUTY
PLASTIC.
AN AUTOMATED MOLD MELTS AND
SHAPES THE PLASTIC MATERIAL INTO
CASING PARTS.
MEANWHILE, A ROBOT PICKS UP
BRASS CONTACTS AND PLACES THEM
IN FIXTURES.
A PLASTIC SWITCH IS THEN
ATTACHED TO EACH CONTACT.
A BLAST OF AIR SENDS THE
ASSEMBLED PIECE TO A BIN.
HERE, A ROBOT SLIDES A PLASTIC
SPOOL ONTO A MANDREL, THEN
ANCHORS COPPER WIRE TO IT.
THE WIRE IS WOUND AROUND THE
SPOOL MORE THAN 2,000 TIMES TO
MAKE PART OF THE ELECTRIC RELAY
THAT WILL DRIVE THE BLADES.
POLICE KEEP THE WIRE FED AT AN
EVEN TENSION.
NEXT, ROBOTS WORK ON THE
CLIPPER'S LOWER CASING.
ONE INSTALLS A BLADE SLIDE FOR
ADJUSTING THE BLADE, AND ANOTHER
ATTACHES THE LEVER THAT CONTROLS
THAT SLIDE.
AN AUTOMATED SCREWDRIVER FASTENS
EVERYTHING TOGETHER.
THE CLIPPER ASSEMBLY IS THEN ON
ITS WAY TO HAVE A METAL ARM
INSTALLED.
THIS PIECE WILL MOVE THE CUTTING
BLADE.
AND FOR THAT, IT WILL NEED A
COUPLE OF SPRINGS.
NEXT, THE SWITCH ASSEMBLY GOES
IN.
AND THEN THE ARM IS SCREWED INTO
PLACE.
WORKERS INSTALL A SCREW FOR
ADJUSTING THE POWER SETTING.
AND NOW THEY FIT THE COPPER WIRE
COIL INTO THE LOWER HOUSING
WHERE IT WILL DRIVE THAT METAL
ARM.
A POWER CORD IS RUN FROM THE
SWITCH TO THE COIL.
AND NOW THE CLIPPER'S INNER
WORKINGS ARE COMPLETE.
OVER AT ANOTHER STATION, A PUNCH
PRESS STAMPS OUT CLIPPER BLADES.
THE BLADES ARE TOOTHLESS TO
START.
BUT AFTER A GOOD WASHING AND
HEAT TREATMENT, THEY HEAD OVER
TO ANOTHER STATION TO GET SOME
TEETH.
A WORKER RU3S A BLADE INTO A
FIXTURE TO HOLD IT STEADY, THEN
A JAGGED CYLINDRICAL CUTTER
CARVES THE TEETH.
COOLANT KEEPS THE PROCESS FROM
OVERHEATING AND COMPROMISING THE
INTEGRITY OF THE STEEL.
EACH HAIR CLIPPER HAS TWO
BLADES.
THE FIRST ONE HAS CUTTING TEETH
WHICH MOVES OVER THE SECOND, A
LARGER, STATIONARY BLADE THAT
ENSNARES THE HAIRS SO THAT THEY
CAN BE CUT.
NEXT, THE COMPANY'S LOGO IS
PRINTED ON TO THE CLIPPER'S LID.
AND THE LID IS ATTACHED TO THE
CASING THAT HOLDS THE ELECTRICAL
COMPONENTS.
WORKERS MOUNT THE BLADES ON THE
HEAD OF THE CLIPPER FOR THAT
DOUBLE-EDGED CUTTING ACTION.
AND FINALLY, EACH CLIPPER IS
TUNED FOR OPTIMUM PERFORMANCE BY
ADJUSTING THAT POWER SCREW THAT
WAS INSTALLED EARLIER.
THESE CLIPPERS COME IN A KIT
THAT INCLUDES SOME ADDITIONAL
ACCESSORIES FOR THOSE CONSUMERS
WHO WANT TO TRY THEIR HAND AT A
LITTLE HOME GROOMING.
NOW THESE ELECTRIC HAIR CLIPPERS
ARE READY TO GET BUZZING.
WITH THOSE SHARP BLADES, THEY'LL
MAKE SHORT WORK OF ANY "HAIRY"
SITUATION.
COMING UP, THE ART OF THE WOODEN
SHOE.
>> Narrator: CALL THEM THE POOR
MAN'S ANSWER TO THE RUBBER BOOT.
CENTURIES AGO, FARMERS CHIPPED
OUT HOLES IN WOODEN BLOCKS TO
KEEP THEIR FEET DRY.
OVER THE YEARS, THE BLOCKS WERE
REFINED INTO INEXPENSIVE BUT
DURABLE FOOTWEAR.
TODAY THEY'RE MOST COMMONLY
ASSOCIATED WITH THE HISTORY AND
TRADITION OF THE NETHERLANDS.
HOW THEY'RE MADE REMAINS AS
BASIC AS THE SHOE ITSELF.
MOST WOODEN SHOES ARE CRAFTED
FROM RU3LAR, A WOOD THAT'S EASY
TO CARVE AND GENERALLY FREE OF
KNOTS, SO THE WEARER WON'T
ENCOUNTER ANY SPLINTERS.
A WORKER FEEDS PIECES OF RU3LAR
INTO A BAND SAW, CAREFUL TO TOSS
ANY PIECES WITH DEFECTS.
THE BLADE SLICES THE WOOD INTO
BLOCKS CALLED BLANKS.
THE FACTORY USES VINYL PATTERNS
LIKE THIS ONE TO CREATE THE
SHAPE OF THE SHOE.
THERE'S A PATTERN FOR EACH SIZE
OF EVERY CLOG STYLE.
A WORKER LOCKS THE PATTERN INTO
A DUPLICATION MACHINE CALLED THE
SHAPER, THEN RIGHT NEXT TO IT,
TWO BLANKS.
AS THIS TRACER MOVES OVER THE
SHAPE OF THE PATTERN, THE WHEEL
ON THE LEFT COPIES ITS MOVEMENTS
EXACTLY, ITS BLADE SHAVING THE
WOOD AS IT MOVES UP AND DOWN.
THERE'S ONLY ONE PATTERN LOADED,
YET THE MACHINE CARVES OUT A
PAIR OF SHOES.
THAT'S BECAUSE THE WHEEL ON THE
FAR LEFT SPINS IN THE OPPOSITE
DIRECTION.
SO AS THE BLADE SAWS AWAY, IT'S
CREATING TWO MIRROR IMAGE
COPIES.
THAT ALLOWS THE MACHINE TO CARVE
OUT BOTH A RIGHT AND A LEFT SHOE
SIMULTANEOUSLY.
NOW FOR THE INSTEP.
A WORKER POSITIONS THE BLANKS ON
TO WHAT'S CALLED A DUAL-ACTION
BORING MACHINE.
THE CENTER ROD IS CALLED A
TASKER.
ITS ROLLING HEAD FOLLOWS THE
CURVES INSIDE THE PATTERN.
SPOON BITS ON EITHER SIDE OF IT
COPY THE TASKER'S MOVEMENTS,
GRADUALLY CARVING OUT THE INSIDE
OF THE SHOES.
NOW WORKERS SHIFT THE ANGLE SO
THE SPOON BITS CAN GET IN
DEEPER, BORING ALL THE WAY TO
THE FRONT OF THE SHOE.
ALL THAT CARVING MAKES FOR A LOT
OF WOOD CHIPS.
AFTER A DRYING PERIOD, THE TOE
KNOBS ARE CUT OFF WITH A BAND
SAW, AND THE CLOGS ARE INSPECTED
FOR ANY FLAWS.
A DISK SANDER GRINDS DOWN THE
KNOB ON THE HEEL AND REFINES THE
SHAPE OF THE TOE.
THE SHOEMAKER USES A BARREL
SANDER TO SMOOTH OUT THE OPENING
THEN THEY SWITCH TO A BALLOON
SANDER.
THIS SANDER HAS AN AIR-FILLED
SACK INSIDE IT THAT FLEXES TO
THE SHAPE OF THE SHOE.
NOW FOR THE FINAL STEP.
AN ARTIST LAYS CARBON PAPER ON
THE SHOE AND A PATTERN ON TOP OF
THAT.
THEN SHE TRACES THE PATTERN.
THE CARBON SHEET TRANSFERS THE
DESIGN TO THE WOOD.
NOW SHE GOES OVER THE DESIGN
WITH A WOODBURNER.
SHE CHANGES TIPS AND VARIES THE
TEMPERATURE ACCORDING TO THE
SIZE AND DEPTH OF THE LINES
SHE'S BURNING.
THIS DESIGN COMMEMORATES
HOLLAND -- HOLLAND, MICHIGAN,
THAT IS.
THE ARTIST NOW USES WATER-BASED
PAINTS TO ENHANCE THE SCENE WITH
COLOR.
SHE APPLIES THREE COATS OF A
WATER-BASED VARNISH TO PRESERVE
THE ARTWORK AND HELP KEEP THE
SHOES CLEAN.
WHILE MOST CLOG-WEARING FARMERS
OPT FOR A PLAINER VERSION, TRUE
CLOGAHOLICS APPRECIATE A LITTLE
PIZZAZZ.
BUT THEY'LL LEAVE CRAFTING THE
CLOGS TO THE EXPERTS, BECAUSE
THEY'VE GOT SOME PRETTY BIG
SHOES TO FILL.
WHEN WE RETURN, THE KNOW-HOW
BEHIND FAUX COW.
>> Narrator: IS IT LEATHER OR IS
IT PLEATHER?
IT'S NOT ALWAYS EASY TO SPOT
THE FAKE.
SYNTHETIC LEATHER, OR PLEATHER,
CAN LOOK AND FEEL VERY MUCH LIKE
REAL COWHIDE.
IT MAY NOT BE THE GENUINE
ARTICLE, BUT TODAY, PLENTY OF
GOOD-LOOKING PRODUCTS ARE MADE
FROM THIS RU3ULAR MATERIAL.
THE RECIPE FOR SYNTHETIC LEATHER
BEGINS WITH A PETROLEUM-BASED
PLASTERIZER DUMPED INTO A MIXING
TUB.
AN ULTRAVIOLET-LIGHT STABILIZER
IS ADDED TO PROVIDE PROTECTION
FROM THE SUN'S RAYS.
AND THEN A FLAME-RETARDANT
SOLUTION FOR A LITTLE
FIREPROOFING.
POWDERED VINYL IS ADDED UNTIL
THE MIX REACHES THE CONSISTENCY
OF PANCAKE BATTER.
NEXT, DIFFERENT DYES ARE POURED
INTO ANOTHER TUB, FOLLOWING A
FORMULA FOR A SPECIFIC SHADE.
THE LIQUID-VINYL MIX IS THEN
PIPED INTO THE TUB WITH THE
COLORING AGENTS.
NOW A BIG ROLL OF PAPER WITH A
LEATHER-LIKE TEXTURE UNWINDS
INTO THE COATING MACHINE.
AS TINTED LIQUID VINYL FLOWS
INTO THE MACHINE, A MIXING ARM
AGITATES IT, AND ROLLERS BELOW
APPLY IT TO THE PAPER.
THE VINYL-COATED PAPER THEN
TRAVELS THROUGH AN OVEN.
THE VINYL HARDENS, TAKING ON THE
PAPER'S TEXTURE.
THIS FIRST LAYER IS A THIN ONE
TO ESTABLISH THE SURFACE GRAIN.
A SECOND BATCH OF VINYL WILL
CONTAIN A THICKENING AGENT.
THAT'S WHY THEY CALL IT "THE
FOAM."
IT WILL GIVE THE FABRIC SHAPE
AND STRUCTURE.
WORKERS POUR THIS SECOND VINYL
CONCOCTION INTO THE COATING
MACHINE, WHICH ROLLS IT ON TOP
OF THE FIRST LAYER.
THE DOUBLE-LAYERED VINYL THEN
TRAVELS THROUGH ANOTHER OVEN.
THE HEAT ACTIVATES THE
THICKENING AGENT CAUSING THE
SECOND LAYER TO EXPAND.
ONCE THE EXPANDED VINYL IS
HARDENED, IT GETS A FABRIC
BACKING.
A MACHINE THEN PEELS AWAY THE
PAPER TO REVEAL THE TEXTURED
FIRST LAYER.
SOMETIMES A PATTERN IS PRINTED
ONTO THE VINYL TO MAKE IT LOOK
BURNISHED OR TWO-TONED.
THEN WORKERS MIX A SOLUTION TO
BUILD UP THE MATERIAL'S
DURABILITY.
ROLLERS APPLY IT TO THE
SYNTHETIC LEATHER, FINISHING OFF
THIS PRODUCTION RUN.
BUT THIS PLEATHER ISN'T QUITE
READY TO BE SHIPPED OUT.
SAMPLES FROM EVERY RUN UNDERGO A
BATTERY OF TESTS.
THIS MACHINE RUBS THE FABRIC UP
TO THREE MILLION TIMES TO SEE
HOW IT WEARS.
THEN THERE'S A STRETCH TEST.
A WEIGHT IS FASTENED TO A STRIP
OF SYNTHETIC LEATHER.
THE WEIGHT PULLS THE SWATCH TO
DOUBLE ITS LENGTH, BUT IT
DOESN'T TEAR, WHICH MEANS THIS
FABRIC HAS A LOT OF GIVE.
NEXT, A TRIAL BY FIRE.
TO PASS THIS TEST, THE FABRIC
MUST SELF-EXTINGUISH IN TWO
SECONDS.
AND IT DOES...
THANKS TO THE FLAME RETARDANT
THAT WENT INTO PRODUCTION.
NEXT, A CUTTING IS PLACED IN A
FRAMEWORK...
AND HEATED IN AN OVEN TO
INCREASE ITS PLIABILITY.
A VACUUM MOLD SUCKS THE FABRIC
TO ITS FORM, PROVING THIS SAMPLE
ALSO HAS SOME THERMOPLASTIC
QUALITIES.
YOU CAN'T DO THIS WITH REAL
LEATHER.
WITH SO MANY PRINTS, TEXTURES
AND COLORS NOW IN PRODUCTION,
THIS PRODUCT SEEMS TO HAVE
EVERYTHING "COVERED."
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THE SHOW OR IF YOU'D LIKE
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