My Quizzes

So when you're pulling espresso shots - the video shows a white Fiorenzato espresso grinder with a digital screen on the front and a hopper full of coffee beans on top - particularly with these medium ground beans that we use here, you're typically going to want an extraction time roughly around 30 seconds. You know, plus or minus three to four seconds is okay. But if you consistently find your shots falling above or under that range, you really want to adjust your grinder to get back into that range. So if we look at this grinder here - the camera zooms in on the metal ring at the top of the grinder body - you'll see this dial. And on this dial, it says 'Coarse' to the left - a hand points to the word 'Coarse' written on the metal ring - 'Fine' to the right - the hand points to the word 'Fine'. And what's going to happen is, if you make your grind coarser, it's going to cause it to pull more quickly, pull a little faster, whereas if you make it finer, it's going to pull a little longer. So we're going to use that as a guide for as to which way you would move your grind setting, depending on how your shots are pulling. Let's say, for example, your shot is pulling at 20 seconds. So that's, you know, maybe about seven to ten seconds less than we'd like. So in that case, I would adjust a little bit towards the fine side - the trainer uses both hands to rotate the silver dial clockwise towards the 'Fine' mark - You always want to adjust in very small increments, because even just any adjustment even bigger than what I just showed you could massively impact the extraction time. It's a very sensitive setting. It's not something you want to wildly move back and forth. And with every grinder, there's going to be a little differences in how sensitive it is. And so it will take some practice with your machine, but given a little trial and error, you should be able to figure it out. Pretty much all the grinders you'll be using will only have a single hopper - the camera pans right to show the rest of the coffee station, including syrups, cups, and another smaller grinder - They're only meant to grind a single type of bean. That is mainly because every bean, be it a different blend or regular versus decaf, they're all going to need to be dialed in differently than each other, so they can't really share the same grinder. So in most locations, you'll find you'll have a primary grinder - the camera points back to the white grinder - which has your regular espresso beans, and then you'll have a secondary grinder - the camera points to a second, smaller black and white grinder further down the counter - where you'll be keeping your decaf beans. You would have to dial them both in individually - a barista in a brown apron and blue shirt stands behind the counter - and maintain them both separately.

"Hi, I'm Jackson. Welcome to Angelina's Bakery. Today I'm going to be showing you how to make some of our more standard coffee drinks. Uh, in some of our locations, you might have specialty drinks, but for those, you will receive additional training for. This is just to show you the basics of making coffee." Jackson is a young man wearing a brown Angelina's Bakery apron, a blue button-down shirt, and a brown baseball cap. He is standing behind the counter with an espresso machine and other equipment visible behind him. "Alright, so I'm going to start with the most basic standard drink possible, which is going to be a single espresso." Jackson gestures towards the espresso machine. "So first, always remember, knock out any grounds that are in your portafilter and wipe them out with a nice dry towel." Jackson picks up a portafilter, knocks it against a knock box, and then uses an orange towel to wipe the inside of the basket clean. "You're going to want it to look clean on the inside before you put any coffee grounds into it." He holds up the portafilter to the camera, showing the shiny, clean metal interior of the basket. "So we're going to grind our coffee into the portafilter." Jackson places the portafilter into the holder of an electronic coffee grinder. The machine grinds a dose of coffee into the basket. "And then you're going to want to settle the grounds so they're a little even." Jackson uses his hand to gently tap the side of the portafilter, leveling the mound of coffee. "And then you're going to take your tamp and you want to apply an even pressure. You want the puck to come out evenly. Any slanting, uh, uneven distribution is going to cause your shots to pull poorly." Jackson places the portafilter on a tamping mat and uses a hand tamper to press down on the grounds. He demonstrates the importance of keeping the tamper level and applies steady, downward pressure. "You want to tamp evenly because any unevenness in your distribution will cause your shots to pull improperly. So you want it to look nice and even all around." He shows the camera the surface of the tamped coffee, which is smooth and perfectly level within the portafilter basket. "Uh, when you're using an auto-tamper, it does most of the work for you, but something that's very important is that you want to always wipe the tamper before... after every tamp because a lot of times coffee grounds will stick to the auto-tamper and then that will mess up subsequent tamps." Jackson points to the auto-tamping machine and gestures with his hands to show the cleaning motion. "It's going to be standard that you're always grinding for a double shot. Um, all of our setups are going to be set up where the coffee grind and the machines are all dialed in specifically for pulling double shots at a time. So we always use this right button which shows the double shot. Even if we have a single shot setting, you should never use it. Um, everything is set up specifically for a double shot." The camera zooms in on the touch screen of the coffee grinder, showing icons for single and double shots. Jackson's hand points to the double shot icon. "And it's very important on most espresso machines, you'll have multiple button options. Depending on your location and who has set up your machine, they might function differently, so it's always good to ask a manager or a more senior employee for assistance in making sure you know what each button does in your location." Jackson is now pointing at the control panel of the large espresso machine, which has several buttons with different cup icons. "In our location, for example, we have the main one which is a standard double shot. That's what we use 99% of the time." He points to the button featuring two small cups. "Uh, we also have this option right here which we program to be a ristretto shot, which that just means a shorter pull, so it's going to push less water through. It's going to be more intense tasting, much quicker to drink." He points to the button with a single small cup icon. "Then the third option that we use here is the lungo, or a long shot, and that's just an espresso with more water pushed through it, so it's a little bit less intense. Uh, these are the kind of things where you won't be using them frequently, but if your store has them, occasionally a customer will ask for that specifically, and it's always good to know exactly what your machine can do." He points to another button with a different icon representation. "Now, so we're going to pull a shot of espresso and for espresso, we serve it one of two ways: either for here or to go. For here, we would use a ceramic cup as provided... as long as it's available. Otherwise, we're using the paper cup. And with espresso, you always want to make sure you're pulling directly into the cup you're serving it in. You really don't want to transfer espresso shots when serving them straight up." Jackson picks up a small white ceramic espresso cup and a small paper cup. He locks the portafilter into the group head of the espresso machine and places the ceramic cup directly under the spout. "And at the end, you'll end up with just a nice clean single espresso shot. You should see this nice layer of crema on top." The camera shows a close-up of the espresso in the ceramic cup. A thick, golden-brown foam (crema) covers the surface of the dark liquid. Jackson gestures towards the crema with his finger. "If you just see kind of a watery black color, um, that means your shot hasn't pulled correctly and that likely means your coffee grounds are possibly under-dosed." He continues to hold the cup, showing the quality of the pulled shot.

The video begins with a close-up of a white Fiorenzato coffee grinder on a cafe counter. The grinder features a digital touch screen and a clear hopper filled with coffee beans at the top. The trainer explains, "So when you're pulling espresso shots, uh particularly with these medium ground beans that we use here, you're typically going to want an extraction time roughly around 30 seconds, you know plus or minus three to four seconds is okay. But if you consistently find your shots falling above or under that range, you really want to adjust your grinder to- to get back into that range." The camera then zooms in on a silver adjustment ring at the base of the hopper. The ring has a black lever and markings that say "Coarse" with an arrow pointing left and "Fine" with an arrow pointing right. The trainer continues, "So if we look at this grinder here, you'll see this dial and on this dial it says coarse to the left, fine to the right, and what's going to happen is if you make your grind coarser, it's going to cause it to pull more quickly, pull a little faster, whereas if you make it fine, it's going to pull a little longer." The trainer’s hands come into view, gripped around the adjustment dial. He demonstrates a very slight movement. "So we're going to use that as a guide for as to which way you would move your grind setting depending on how your shots are pulling. Let's say for example your shot is pulling at 20 seconds, so that's, you know, maybe about seven to 10 seconds less than we'd like. So in that case I would adjust a little bit towards the fine side." He nudges the lever just a few millimeters to the right. "You always want to adjust in very small increments because even just any adjustment even bigger than what I just showed you could massively impact the- uh extraction time. It's a very sensitive setting. It's not something you want to move wildly back and forth. It's going to- and with every grinder, there's going to be little differences in how sensitive it is and so it will take some practice with your machine, but given a little trial and error, you should be able to figure it out." The camera pans right, revealing a row of flavored syrup bottles like Monin and DaVinci, along with stacks of plastic cups and other barista equipment. In the background, a second, slightly smaller white grinder is visible. The trainer explains, "Pretty much all the grinders you'll be using will only have a single hopper, they're only meant to grind a single type of bean. That is mainly because every bean, be it a different blend or regular versus decaf, they're all going to need to be dialed in differently than each other, so they can't really share the same grinder." The camera continues to pan, showing a barista wearing a brown Angelina's Bakery apron and a black cap standing by the coffee station. The trainer concludes, "So in most locations, you'll find you'll have a primary grinder, which has your regular espresso beans and then you'll have a secondary grinder where you'll be keeping your decaf beans. You would have to dial them both in individually, um and maintain them both separately."

Jackson, a barista at Angelina's Bakery, stands in the bakery wearing a brown apron and a cap. His left hand is heavily bandaged. To his right is a large white and silver espresso machine, and a coffee grinder. Behind him are menus and shelves with various items. Jackson introduces the training session: "Hi, I'm Jackson. Welcome to Angelina Bakery. Today I'm going to be showing you how to make some of our more standard coffee drinks. Uh, in some of our locations, you might have specialty drinks, but for those you will receive additional training for. This is just to show you the basics of making coffee." He moves over to the espresso machine to demonstrate the process. "Alright, so I'm going to start with the most basic standard drink possible, which is going to be a single espresso. So first, always remember, knock out any grinds that are in your portafilter and wipe them out with a nice dry towel." Jackson removes the portafilter from the machine, knocks out the old coffee puck into a knock box, and thoroughly wipes the inside of the metal basket with an orange towel until it's clean and dry. "You're going to want it to look clean on the inside before you put any coffee grounds into it." Next, he places the portafilter into the coffee grinder. "So we're going to grind our coffee into the portafilter." The grinder fills the basket with fresh coffee grounds. Jackson then uses his hand to level the grounds in the portafilter. "And then you're going to want to settle the grounds so they're a little even." He places the portafilter on a tamping mat and uses a manual tamper to press down on the grounds. "And then you take your tamp and you want to apply an even pressure. You want the puck to come out evenly. Any slanting, any uneven distribution is going to cause your shots to pull poorly. You want to tamp evenly because any unevenness in your distribution will cause your shots to pull improperly. So you want it to look nice and even all around." Jackson shows the tamped coffee puck, which is smooth and level. He then mentions an alternative: "Uh, when you're using an auto tamper, it does most of the work for you, but something that's very important is that you want to always wipe the tamper after every tamp because a lot of times coffee grounds will stick to the auto tamper and then that will mess up subsequent tamps." The video shows the digital display on the grinder, set for a double shot. Jackson explains the bakery's standard procedure: "It's going to be standard that you're always grinding for a double shot. Um, all of our setups are going to be set up where the coffee grind and the machines are all dialed in specifically for pulling double shots at a time. So we always use this right button, which shows the double shot. Even if we have a single shot setting, you should never use it. Um, everything is set up specifically for a double shot." He points to the buttons on the espresso machine, which have icons for different types of shots. "And it's very important, on most espresso machines you'll have multiple button options. Depending on your location and who has set up your machine, they might function differently, so it's always good to ask a manager or a more senior employee for assistance in making sure you know what each button does in your location. In our location for example, we have the main one which is a standard double shot. That's what we use 99% of the time." He continues to point out other buttons: "Uh, we also have this option right here which we program to be a ristretto shot, which that just means a shorter pull, so it's going to push less water through, it's going to be more intense tasting, much quicker to drink. Then the third option that we use here is the lungo, or a long shot, and that's just an espresso with more water pushed through it, so it's a little bit less intense. Uh, these are the kind of things where you won't be using them frequently, but if your store has them, occasionally a customer will ask for that specifically and it's always good to know exactly what your machine can do." Jackson prepares to pull the shot. "Now, so we're going to pull a shot of espresso. And for espresso, we serve it one of two ways: either for here or to-go." He holds up a small white ceramic cup and a small paper cup. "For here, we would use a ceramic cup as provided it's available. Otherwise, we're using the paper cup. And with espresso, you always want to make sure you're pulling directly into the cup you're serving it in. You really don't want to transfer espresso shots when serving them straight up." Jackson inserts the portafilter into the group head and places the ceramic cup underneath. He presses the double shot button. The espresso begins to pour into the cup. Finally, Jackson shows the finished espresso shot in the ceramic cup. "And at the end you'll end up with just a nice clean single espresso shot. You should see this nice layer of crema on top. If you just see kind of a watery black color, um, that means your shot hasn't pulled correctly and that likely means your coffee grounds are possibly under-dosed." The crema is a rich, golden-brown foam on the surface of the dark coffee.

The video begins with a close-up of a white Fiorenzato espresso grinder with a digital touchscreen display. The narrator begins, “So when you're pulling espresso shots, uh particularly with these medium ground beans that we use here, you're typically going to want an extraction time roughly around 30 seconds. You know plus or minus three to four seconds is okay. But if you consistently find your shots falling above or under that range, you really want to adjust your grinder to get back into that range.” The camera moves in closer to the top of the machine, where a dial is visible just below the bean hopper. The narrator points to it, saying, “So if we look at this grinder here, you'll see this dial. And on this dial it says coarse to the left, fine to the right.” The dial has white markings and text clearly labeled ‘Coarse’ with an arrow pointing left and ‘Fine’ with an arrow pointing right. The narrator explains the mechanics: “And what's going to happen is if you make your grind coarser, it's going to cause it to pull more quickly, pull a little faster, whereas if you make it fine, it's going to pull a little longer. So we're going to use that as a guide for as to which way you would move your grind setting depending on how your shots are pulling.” The barista then demonstrates an adjustment. They place their hands on the dial and move it a tiny fraction of an inch to the right. “Let's say for example your shot is pulling at 20 seconds, so that's you know maybe about 7 to 10 seconds less than we'd like. So in that case I would adjust a little bit towards the fine side.” They emphasize the precision needed: “You always want to adjust in very small increments because even just any adjustment even bigger than what I just showed you could massively impact the extraction time. It's a very sensitive setting. It's not something you want to wildly move back and forth. It's going to... and with every grinder there's going to be little differences in how sensitive it is and so it will take some practice with your machine, but given a little trial and error you should be able to figure it out.” The camera then pans across the bar area, showing various syrup bottles (Monin brand), cups, and other equipment. It stops on a second, smaller grinder further down the counter. “Pretty much all the grinders you'll be using will only have a single hopper. They're only meant to grind a single type of bean. That is mainly because every bean, be it a different blend or regular vs decaf, they're all going to need to be dialed in differently than each other, so they can't really share the same grinder. So in most locations you'll find you'll have a primary grinder which has your regular espresso beans and then you'll have a secondary grinder where you'll be keeping your decaf beans. You would have to dial them both in individually and maintain them both separately.” The video ends showing a female barista in a brown Angelina's apron and a black cap standing at the coffee station.

Jackson, wearing a striped shirt, a brown cap, and an Angelina's Bakery apron, stands in a bakery with shelves of cups and bottles behind him. In front of him is a San Remo espresso machine and two white Fiorenzato grinders. He begins, "Hi, I'm Jackson and I'm here to show off the San Remo espresso machine which will become the standard for all Angelina locations. Depending on your location you might already have one of these machines." He points to the machine's components. "And in addition to just the new espresso machine, which features an automatic steam wand which can allow anyone regardless of skill level to actually steam quality milk for lattes or cappuccinos. We also have these wonderful grinders which we can have them set to automatically dose out the weight of your espresso." The camera focus shifts to the grinder's digital screen, which displays a coffee cup icon and '18.0 g'. "So for example on this one right here, we have 18 gram baskets in our portafilters, so we have it set up to go to 18 grams. So instead of relying on a timing mechanism with this one you're able to have it automatically dose the exact amount of grounds you want which makes it easier for anyone to step up to the machine and extract a good espresso." He holds a portafilter and gestures to the grinder. "In addition to that you'll notice underneath we have these auto tampers which we have dialed in to apply the exact amount of force you want to perfectly tamp your espresso. So again just another measure that can allow anyone to really step in and make a quality cafe drink. To start I'm going to show you the basics which is just pulling a double shot of espresso." Jackson places the portafilter into the grinder, which grinds coffee into the basket. He removes it and uses his gloved finger to level the grounds. "As always before even though we're using an auto tamper that doesn't change the fact we always want our coffee grounds to be relatively evenly distributed before tamping." He levels the coffee with a flat, circular motion. "So now that I have my grounds pretty even I can go straight into the auto tamper and look at that, comes out with a perfectly evenly tamped puck with just the right amount of pressure." He inserts the portafilter into the PUQ tamper. He shows the flat, even surface of the compressed coffee. Jackson then locks the portafilter into one of the machine's group heads. "So you'll notice that the distance from where we might put a cup to where the shot's extracting from is fairly high. Ideally you would have a tool that looks kind of like a little shelf that you could put your cups on top of when you want to extract more in a controlled fashion for a cleaner presentation. Right now I'm still waiting on receiving that part, so to compensate I will actually just be propping a cup underneath it so that there's not a lot of splashing when my espresso hits the cup. I don't want to have a double espresso with just little specks of espresso everywhere." He holds a white ceramic cup close to the group head. "So you'll notice I press this button right here." The camera focus moves to the group head's digital interface. "On all of your machines you're going to have the same buttons and this top right one with the two large or two very full cups, that's going to be an 80 milliliter extraction, that is going to be our new standard double shot and that's what you're going to be using the majority of the time." He presses the top right button, and espresso begins to flow. The screen shows a timer and the volume increasing. "Occasionally you might want to do a ristretto or a short espresso. That would be controlled by this button which would output 60 milliliters so three-quarters of what we normally do." He points to the button directly below the double shot button. "And then in the case of when you're pulling an individual single shot which I will show you in a little bit you would use either of these buttons, both of which have been set to roughly 40 milliliters. So half of what we're extracting in the double." He points to the two buttons on the left side of the interface. The timer on the screen stops at 26 seconds as it reaches 80ml. He lowers the cup. "As you see a nice clean double. If I were to extract into the cup down here we'd see little splashes of coffee everywhere which doesn't ruin the drink but it's a much worse presentation and we'd like it to be clean like this." He displays the finished espresso shot with a thick layer of crema on top.

The video opens with a tight close-up of the underside of a white automatic tamper, labeled with the brand name 'puq'. Visible clumps of dark coffee grounds are stuck to the metallic tamping surface. The trainer begins speaking: 'So these auto tampers are fantastic for improving the consistency of anyone using the espresso setup. And it's something that, you know, it's typically very reliable, it's going to give you a consistently great result. However, there are some things to look out for. So you'll notice down here, you can see some coffee grounds getting stuck to the bottom of the auto tamper. You know, naturally, just from a combination of moisture and just use and debris building up, you're going to get that clumping on the bottom throughout service. It's a very easy thing to take care of, you just have to wipe it down with a cloth. But if you don't and you do continue to use it, you're going to end up with poor results. And I'm going to just show you a very clear example of what's going to happen when you do that.' The camera pans out to show the trainer, a man in a striped shirt and a black apron with the 'Angelina' bakery logo. He is standing at a professional espresso station. He places a portafilter into a grinder to dispense fresh grounds. He continues: 'So we had the debris on the bottom of the auto tamper. I have left it there to demonstrate what's going to happen if you don't clean that out.' Once the portafilter is full, he uses the side of his hand to level the grounds, saying: 'So as always, kind of even out the grounds before tamping, even when auto tamping.' He inserts the portafilter into the 'puq' automatic tamper. The machine whirs as it presses the coffee. He removes it and holds the portafilter close to the camera, revealing a puck with deep, irregular pits and clumps on the surface. He explains: 'And you'll notice there's a massive amount of cratering where my espresso puck, which is supposed to look even, clean all the way across, there's some very clear cratering. And not only is that going to potentially create an improper extraction, that's going to 100% create a worse-tasting and lower-quality product for the customer. And so we always want to avoid that.' The trainer then takes a white cloth and thoroughly wipes the circular metal base of the auto tamper. He says: 'And to avoid that is very simple. You just have to be very careful to make sure that you're consistently wiping the underside of your tamp. You see, now I wiped it off and I'm going to go and grind some more espresso beans and show you what it'll look like immediately after wiping it off and trying to use it again.' He repeats the process of grinding and leveling a new batch of coffee. Before tamping, he demonstrates a safety feature by placing his bare hand directly under the tamper to check for cleanliness, explaining: 'And if you're ever unsure if your auto tamper is clean, they are calibrated to only trigger when in the presence of a portafilter. So I just personally just put my hand under there, feel it, make sure it's there's nothing stuck to it. And I after touching it, I know nothing was stuck to it.' He then inserts the portafilter for the final tamp. He pulls it out and shows the camera a perfectly flat, smooth, and uniform surface of coffee. He concludes: 'And here we go for the tamp. And you'll notice this time it's even, it's even and smooth across. And all that took was just wiping it for half a second. So as long as you stay on top of that, your auto tamper should consistently provide great results.'

Standing in front of a Sanremo Café Racer espresso machine at Angelina's Bakery, a trainer gestures to the equipment. "So like other machines you might have worked with or seen, uh there is going to be a manual steam wand," he says, pointing to the wand on the left. "Um on the right side however, you're going to find an automatic steam wand, but just for demonstration purposes I will show you just how the manual steam wand works, you know it's going to function very similarly to other steam wands, but it's always good to just see it visually." He pours milk from a large white jug into a black metal pitcher. Positioned back at the manual steam wand, he explains the technique: "As always, we're going to put our steam wand in just a lit- just put the tip barely into the milk slightly off center at an angle and we're going to want to quickly add air in the beginning and then immediately once we get enough volume we're going to dip the steam wand further in and create a vortex um and then we would texture our milk which would help change the larger air bubbles into more silky microfoam uh right now I'm going to do a latte so that's actually just going to be a little bit of air added and then we're going to be mostly texturing the whole time so I'm going to crank this up to full power." He turns the dial, and a loud hissing fills the air. "And you hear that sound a little bit like paper ripping that's me adding air that little bit right there was just enough for me and so now we're dipped in you see the milk is spinning beautifully." A close-up shows the milk swirling in a vortex within the pitcher. He shuts off the steam. "And now it's just too hot to hold. I'm going to tap that out," he says, tapping the pitcher against the marble counter. He then wipes the wand with a white towel. "And let me pull my espresso shots for that should have pulled that beforehand it's okay I'll add this part in." He pulls an espresso shot into a white cup. Showing the pitcher to the camera, he swirls the milk. "And if you'll notice here even though you know I added a decent amount of air the milk it looks smooth silky homogeneous and that's a result of the vortexing of the milk texturing of the milk which really breaks down any larger air bubbles into very microscopic ones that then allow your milk to have this wonderful almost wet-paint-like look." Finally, he pours the milk into the cup, creating a heart design. "And just made a little heart and the milk flows beautifully because it was textured very well."

The trainer at Angelina's Bakery, standing in front of a silver espresso machine, explains how to steam milk for multiple drinks. He begins by saying, "So we have previously talked about how with similar types of drinks you can kind of combine the whole process of making them together, but then sometimes there are slight variations in the drinks where they're close enough that with the right technique you're able to combine them, make them at the same time, but if you do it improperly it's going to negatively impact one or both drinks. So I previously talked about a macchiato and a cappuccino. In that case, because the milk is foamier at the top, you're always going to want to pour the macchiato milk first because that's going to get the foamiest bit and then put the rest of the milk in the cappuccino." He then moves on to discuss lattes and flat whites, "Uh similar to that concept we have a flat white and a latte. You know a flat white is steamed has milk steamed almost identically to a latte but as we've discussed just a little bit less air. And again as we've discussed with the cappuccino milk the milk at the top is going to always be a little foamier have a little bit more air than the milk at the bottom." He gestures towards the coffee cups and picks up a large silver milk jug as he continues, "So if you wanted to combine a 12 ounce latte and your 8 ounce flat white you can pull your two double shots into separate cups and you can steam 20 ounces of milk, you know, either in a 20 ounce jug if you're comfortable, you know, steaming an almost full jug that can be a little tricky. So if you feel uncomfortable with it always feel free to just grab a bigger jug there's nothing wrong with that. And what we would do there is pour the latte first because the latte technically has a little bit more air and then with the remaining milk you can pour it into the flat white because that's going to be the less foamy portion of the milk."

The trainer, a male barista wearing a brown 'Angelina' apron and a baseball cap with a prominent white bandage on his right hand, stands before a professional silver and white espresso machine. He begins by saying, 'Alright, so now we're going to make an espresso macchiato. What that is, is it's going to be a single or sometimes a double espresso shot that you're going to put steamed foamy milk on top of. You don't really want to add a lot of liquid milk; you really want mainly just the milk foam. So for this one, we are going to have to steam some milk to make it.' He reaches for the portafilter, removing it from the machine and clearing it. 'So obviously you have to start by pulling your espresso shots, which we've gone over previously, so we won't go into too much detail there.' He places the portafilter under the grinder, and coffee grounds fill the basket. He then moves to the tamping mat. 'As always, even tamp,' he says while pressing the tamper down firmly with his bandaged hand to level the grounds. He locks the portafilter back into the group head and starts the extraction into a small white ceramic espresso cup. Next, he prepares the milk. 'Alright, and since we only want a little bit of milk here, you're going to want to take your smallest steaming jug available - I have this little 12 ounce one - and I'm going to fill it up with as little milk as I can, so probably in this case, just a third of the way.' He pours milk from a large plastic gallon into the small stainless steel pitcher. 'If I give it any less, then the milk's going to be a little uncontrollable, so that's where I feel good - not wasting too much milk, but also still having control of my product.' He positions the jug under the steam wand. 'So when steaming milk, you're always going to want to submerge the tip slightly and slightly off center. That's going to allow air to be added in the beginning, but in a controlled manner. And for a macchiato, I'm going to want to nearly double the volume of my milk so I have a lot of milk foam to work with.' He turns on the steam. 'So I'm going to start steaming. And you can hear that little paper ripping noise as I add air.' The milk begins to froth and rise in the jug. 'And now that I've roughly doubled the volume, I'm going to dip my wand in and let it spin for a little to texture.' He lowers the wand further into the milk, creating a whirlpool. 'And it's almost getting a little too hot to hold. I'm going to wipe my steam wand - you always want to wipe your steam wand after every use.' He uses a pink cloth to clean the wand. 'In addition, you also want to quickly purge it by turning it on for just a brief second. That'll get rid of any milk residue and buildup, keep it functioning better throughout the shift.' He turns the steam on for a split second to clear the nozzle. Moving back to the counter, he handles the pitcher. 'So once you steam milk, you always want to tap it out a little - we want to try to remove as much of the bubbles as we can.' He taps the bottom of the pitcher against the counter several times. 'And once we kind of see most of the bubbles gone, you're going to want to just swirl it a little bit. Swirling is just going to help make it a more homogeneous mixture, give it a nicer look, and just a smoother mouthfeel.' He swirls the pitcher until the milk looks glossy. Finally, he takes the espresso shot and prepares the pour. 'So then, macchiato - we're just going to want to barely coat this. So we put a layer over, you know, that layer is probably a third of an inch tall, but just enough to cover it.' He carefully pours the thick white foam onto the espresso, creating a distinct white top. 'And that's your macchiato. Perfect.'

A male barista at Angelina's Bakery, wearing a denim shirt, brown apron, and a brown baseball cap, stands behind the counter. He begins by saying, "All right, so now we're going to make a cortado." He removes the portafilter from the espresso machine, knocks out the old coffee grounds into a knock box, and wipes it clean with a cloth. "Cortado, a cortado is a very simple drink," he explains. He moves to the grinder and says, "It's literally just going to be two shots of espresso. That's the standard size, that's the only size that is on our menu." After grinding the coffee, he tamps it firmly with a handheld tamper on a tamping mat. He inserts the portafilter back into the machine and starts the extraction into a small white ceramic cup. "And to that we're going to add latte style milk, you know, just a little bit of air added, quite milky," he continues. He explains the milk ratio: "And you're going to want an equal amount of milk to espresso." He notes that while technically it is equal parts, many customers prefer more milk: "Uh sometimes you will find that a lot of customers, even though they ordered the cortado and it's technically equal parts espresso and milk, what they're really going to want is, you know, to their 1 and a half, 2 ounces of espresso they're going to want more like 3 to 4 ounces of milk." He reassures, "Uh, so if you ever encounter a customer asking for that, you know, it's no problem, just pour a little more milk." He shows the different cup options on top of the espresso machine. "So I'm going to do a cortado to stay, which I would use in a smaller cup like this. I wouldn't want to use an espresso cup, that's just a little too small, so whatever the next size up you have, use that." He then shows a 12-ounce paper to-go cup: "Uh for to-go, we really only carry these 12-ounce cups. But, you know, with a latte or cappuccino those would fully fill them, but a cortado being really a 4, 5-ish ounce drink, you're really going to only want to fill it halfway or even less than halfway and that's going to give you around the correct serving size." He pours milk into a small 12-ounce stainless steel steaming pitcher, filling it about halfway. "So for this, I don't want a lot of milk so I'm going to use my smallest steaming jug, which right now is at 12 ounces." He steams the milk, carefully positioning the steam wand. "As always, slightly off center, add a tiny bit of air. Be very careful when doing small amounts of milk. It's very easy to overstretch small amounts of milk. And now that I've added a little air, we're just going to let it texture a little." After steaming, he wipes the wand with a red cloth and purges it. He takes the cup with the espresso shots and says, "And given that this is a cortado, right here I have about a 6-ounce cup. I don't want to actually fill it all the way. So you'll notice I'm going to stop my pour a little bit before the liquid gets to the rim." He pours the textured milk into the espresso with a steady hand, finishing with a small heart latte art design. "It's kind of a nice slow pour, dip my jug down to be able to draw a little, get a little texture. And if I filled it to the brim, that'd be more like a 6-ounce drink. This one I stopped, you know, maybe a quarter, like a third of an inch short, so that should be around 5 ounces." He concludes by holding the finished drink, "And while that's not really the 50/50, you're going to find that not only do typically people expect more, but with a cortado, they actually prefer just a little more milk than what the drink is actually supposed to have. If you're fine with a cortado, you always want to err on the side of slightly over, just because I've never once had someone say I put too much milk in their cortado, I've just had people say they would like a bit more milk."

The barista stands behind the coffee counter, preparing to demonstrate the cappuccino-making process. "So now we're going to make a cappuccino," he says. "As before, as with all coffee drinks, you're going to have to start by grinding your coffee grounds into your portafilter." He places the portafilter under the grinder, and once it is filled with grounds, he moves it to the tamping mat. "As always, even tamp, even distribution," he notes while firmly pressing the tamper down. "And actually right now I'm making two cappuccinos, which for when you're making two cappuccinos, it's very easy. You can steam one jug of milk, however, there's a very important way to distribute that milk between the two drinks." He locks the portafilter into the espresso machine and sets two 12-ounce white paper cups beneath the spouts. "So I'm going to pull my shots directly into my cappuccino cups. These are our standard small size, which are 12 ounce cups, which feature double shots. If you were to get a large, we would be using the 16 ounce cup with three shots in it," he explains, holding up a 16-ounce cup for reference. While the espresso shots pour, he prepares the milk. "So we actually do want to steam milk, very similar to a macchiato. You know, you want foamy, quite foamy milk that's been nearly doubled in volume." He holds a milk carton and a 20-ounce steaming jug. "If I was doing a single cappuccino, I would fill up my standard 20 ounce steaming jug just a little under halfway. You could go a little less if you want to be a little more, you know, perfect with the amount of milk you're adding. However, I find just a little under halfway is a good balance in terms of controllability as well as, you know, not wasting too much milk." Because he is making two drinks, he selects a larger 32-ounce jug. "In this case, however, we are making two cappuccinos, so we're going to actually put more milk into a larger steaming jug, in this case, a 32 ounce one, which I'm going to fill just under halfway." He pours the milk and approaches the steam wand. "As always, you put your steam wand in, tip slightly inserted into the milk, slightly off-center. You're going to go full power. You always want your steam wand at full power. You get the fastest steaming and the best results." He turns the wand to full power, and the sound of stretching milk begins. "In the beginning, as always, we're going to stretch the milk, adding air in a consistent and slow fashion. Now that we've added as much air as I'd like for this, I'm going to dip my steam wand in further and get it to vortex more and smooth out the texture of the milk." After finishing, he wipes the wand with a pink cloth and purges it. He then taps the jug on the counter. "Wipe the steam wand, purge it, and then just tap the air bubbles out. Just going to swirl it a little, get that last bit of texturing in. And you're going to notice, even though we nearly doubled the milk in size, it doesn't look particularly foamy. It almost looks like it's not been... not like not a lot of air has been added because we properly textured the milk, so it's made... it has microfoam, which are tiny bubbles as opposed to large, very visible ones." He explains the distribution technique: "So with a cappuccino, you're going to want a good balance of foamy milk and just regular steamed milk. And even though it looks like a homogeneous mixture from top to bottom, you're going to notice when working with it, the higher up you go, the more foamy it will be, whereas the closer to the bottom you are, the more milky it will be. So I don't want to give this one all the foam and then this one all the milk. So what I'm going to do when splitting between two cappuccinos is I'm going to pour in to one, just about halfway, and then I'm going to take the second one and fill it all the way up." He pours the milk into the first cup until it's half full, then fills the second cup to the brim. He realizes he is short on milk for the first cup. "It's okay, I may have added a little too little milk here. Occasionally, you know, we're not all perfect, you're going to make a mistake like I just did where you didn't steam quite enough milk. That's not a problem, quick fix, just steam a little bit more." He quickly steams a small additional amount of milk, taps and swirls the jug, and tops off the first cup. "There you go, two cappuccinos," he says, presenting the finished drinks.

The video opens with a male barista at Angelina's Bakery, wearing a brown cap and apron over a blue shirt. He is standing behind a large professional espresso machine and begins by saying, "Alright, so now we're going to make a flat white. Flat white's a drink that you might encounter different definitions. It's a very trendy name in coffee. Um, some places will do it differently than others, but over here, we do it, as far as I know, the most traditional standard way." He prepares the portafilter by tamping coffee grounds firmly on a tamping mat. He continues, "Which is really going to be about an eight-ounce drink with a double shot, and it's very similar to a latte, the way you would pull that milk. I mean, you would steam that milk. However, the main difference is you want even less air, just the slightest touch of air. You want it to be about as milky as possible without, while still having added a little bit of air." He locks the portafilter into the espresso machine and places a white paper cup underneath. He then reaches for a gallon of milk and a small metal steaming pitcher. "Since this is an eight-ounce drink, I don't really need to get my 20-ounce steaming jug. I really only need my 12, which I'm going to fill a little over halfway." He pours the milk into the pitcher and positions it under the steam wand. "I'm going to, as always, steam wand in, slightly off-center. This one, I'm just going to add air for just a second. That's it." He turns on the steam and holds the pitcher, monitoring the temperature with his hand. Once finished, he wipes the wand with a pink cloth and clears the steam. Holding the white cup, which contains the freshly brewed double shot of espresso, he explains, "And you'll notice I pulled my double shot into a 12-ounce cup, similar to the cortado. We don't carry smaller drink cup sizes in most of our locations. So, in this case, it's not, it's going to be maybe around two-thirds of the way up, about eight ounces. That's going to be the proper proportions for a flat white." He carefully pours the micro-foamed milk into the cup, swirling it initially and then finishing with a decorative heart shape on the surface. He sets the cup down and finishes by saying, "I would say the flat white you have to be pretty precise. Um, people who know it, they, they generally would expect something here in the, they generally, people who like flat whites, they're expecting in a six to eight-ounce range. Uh, you really don't want to go over that amount."

The video starts with a barista behind a counter at Angelina's Bakery, standing in front of a large, professional espresso machine. He begins by saying, "So now we are going to make a large latte." He is wearing a blue button-down shirt, a brown apron, and a brown baseball cap. His left hand and wrist are wrapped in a white bandage. He removes the portafilter from the machine, taps it against a knock box to empty the old grounds, and then wipes the inside of the filter basket with an orange cloth. As he holds up a brown 16 oz paper cup with the Angelina's logo, he explains, "You know, just like the cappuccino, the large latte is going to be in the 16 ounce cup, three shots." He then fills the portafilter with fresh grounds from the grinder and levels them off with his hand. He states, "And the main difference here is just going to be how we steam the milk and how much milk we're using." Next, he places the portafilter on a tamping mat and uses a metal tamper to press down firmly on the grounds. He says, "So even, even coffee grinds, even tamp, right into the espresso machine." He locks the portafilter into the machine's group head and places the 16 oz cup under the spouts, pressing a button to start the extraction. As the coffee pours, he adds, "So that's going to be our first two shots." He then removes the portafilter, knocks out the spent grounds, and wipes it clean again. Before the next step, he presses a button on the machine to let a burst of hot water run through the group head. He explains this step: "Also, every time you pull a shot and you take your portafilter out, you always want to briefly run the water through the group head. That'll help clean out any excess oils or coffee grinds that were stuck to it from the previous extraction." He then prepares a third shot, tamping the grounds as before, but this time he pulls the shot into a small metal pitcher. He says, "So I'm going to pull this third shot right into the double shot I already pulled," and pours the third shot into the 16 oz cup. Moving to the milk preparation, he takes a large jug of milk and a 20 oz metal steaming pitcher. He explains, "For this, because it's a 16 ounce drink, and with a latte, you really only want to add maybe 10 to 20 percent volume as opposed to the nearly doubling the volume of a cappuccino. I'm going to be putting maybe about 12 to 13 ounces of milk in here. You know, just a little, a little bit over the halfway point of a standard 20 ounce steaming jug." He pours the milk into the pitcher and then brings it over to the steam wand on the espresso machine. "Alright, so we're going to steam our latte milk. As always, tip in, slightly off center, just slightly in the milk so we can start adding air immediately." He positions the steam wand and turns it on, creating a slight hissing sound. He continues, "Just going to add a little bit of air. A lot less than a cappuccino. And now we just added a tiny bit of air, added a little bit of volume. We're going to dip it back in." He submerges the wand slightly deeper to create a swirling motion in the milk. "I'm going to want to create a nice vortex, have it spin to texture the milk." He holds the bottom of the metal pitcher with his hand to gauge the temperature. "And a good way to know your milk is done is always going to be it's going to be just barely about to be too hot to hold. That's always, that's kind of a good benchmark for a serving temperature." Once finished, he sets the pitcher on the counter, gives it a sharp tap, and swirls it to maintain a smooth, glossy texture. "As always, tap it out, add a little texture." He then takes a pink cloth, wipes down the steam wand, and purges it with a quick blast of steam. "Never forget to wipe your steam wand and purge it." Finally, he prepares to combine the milk and espresso. "So 16 ounce cup, three shots of espresso. And we're going to do such a slow pour. You don't want to go too fast." He begins pouring the steamed milk into the center of the espresso, starting with the pitcher held high. As the cup fills, he lowers the pitcher closer to the surface. "And then we're just going to tip it in, bring our jug close to draw a little milk on it. And then you end up, I made a nice little heart, very basic design." He finishes the pour with a small flick of his wrist, creating a white heart-shaped design on the surface of the latte. He concludes, "With some practice, you can make some really nice designs, but I do find it's just, this is always nice and presentable for the customer."

The barista, wearing a brown apron and a cap, begins by introducing the drink: "Alright, so we're gonna make a Cafe au Lait. A Cafe au Lait is just gonna always be half drip coffee and then half steamed latte-style milk. You know, the milk where we're just gonna add a little bit of air but it's gonna be quite milky, um not too much foam." They stand behind a clean, professional coffee station with an espresso machine in the foreground and a drip coffee dispenser in the background. The barista selects a 16-ounce paper cup, noting, "So I'm gonna do that in a 16 ounce cup. That's our large size." Moving to the drip coffee station, they fill the cup from a large dispenser. After pouring, they hold the cup up to show the level: "And put my drip coffee in. Now you'll notice I'm gonna actually pour a little bit out. You'll notice that it looks like I'm a little bit more than halfway up. You know, that is by design. If you go right to the halfway, you know, you'll notice due to the shape of the cup, the upper half is gonna be more than the bottom half. So to get to halfway I'm gonna have to go a little bit more than halfway to have equal parts coffee and milk." For the milk portion, the barista reaches for a milk carton and a small, 12-ounce stainless steel steaming pitcher. They explain the ratio: "So for this I only need... it's a 16 ounce drink with half milk, I only need 8 ounces of milk. So I'm gonna use my smallest steaming jug here, the 12 ounce one." They pour the milk into the pitcher and place it under the steam wand of the espresso machine. After steaming the milk to a smooth, milky consistency with minimal foam, the barista taps the pitcher on the counter and swirls it to remove any large bubbles. They then pour the steamed milk directly into the cup of coffee until it is full. Finally, the barista offers some customer service advice: "Now occasionally when someone orders a Cafe au Lait they'll ask you something about making it darker or stronger. All that really means is that you're just gonna put more coffee and a little bit less milk. Usually you'll have to talk to them about that, think about what they want. You know, a good way to figure out exactly what the customer is looking for is just show them a cup and kind of just ask like 'where would you like me to stop the coffee?' And then from there you'll know exactly what to do." They demonstrate this by holding an empty cup and pointing to different levels inside it.

The video starts with a barista wearing a brown baseball cap, a blue denim shirt, and a brown apron with the 'Angelina' logo. He is standing behind the counter of a bakery, in front of a professional espresso machine. He begins by saying, "So now we're gonna make an Americano. An Americano is just gonna be espresso shots and hot water. It's gonna be a 12 or 16-ounce drink." The camera focuses on the espresso machine as he cleans the portafilter with a cloth. He explains, "So, there are two ways to make an Americano. Neither is wrong, but I do have preference for one over the other." He fills the portafilter with ground coffee from the grinder, levels it off with his hand, and then uses a tamper to press the grounds down firmly on a black rubber mat. "So the first way is gonna be what you would call shots first," he says. He locks the portafilter into the espresso machine and places a 12-ounce white paper cup underneath. "So in this case, I'll be pulling my double shot right into my 12-ounce cup. You know if it was a large, we'd be doing three shots, but for the example we are doing smalls." While the espresso pulls, he prepares another portafilter. He knocks out the old grounds into a knock-box, cleans it with an orange cloth, refills it with fresh grounds, taps the side to level, and tamps it. "And that is the way you'll see a lot. There's nothing wrong with that, but I think that personally I prefer the—I prefer making it with water first. And you'll see exactly why when I finish with both drinks." He starts the second set of shots, but this time he pulls them into a small stainless steel pitcher instead of a cup. He then takes another 12-ounce white paper cup and fills it with hot water from a dispenser on the side of the machine. "So in this case, I'm gonna pull my shots not into the cup I'm using. And I'm gonna fill up one cup with hot water." He stops the water before the cup is full. "I'm always gonna leave a little room in case the customer decides they want milk or anything like that. Effectively an Americano is a black coffee kind of made with espresso as opposed to, you know, the standard drip coffee." He goes back to the first cup, which now contains the dark espresso shots. He adds hot water from the dispenser directly into the cup on top of the espresso. "So my shots finished pulling into the one where I pulled right into the cup. So I'm just gonna pour hot water over that." Now, he places both cups side-by-side on the counter. The first cup (water over shots) has a thin, light layer of crema that has mostly dissipated. "Now you'll notice after having done that, there's a little bit of a crema. You can see a little bit of the coffee oil kind of build up on the top. Uh, it's not a bad color. It looks nice." He then takes the small pitcher of espresso and pours it slowly into the second cup, which already has the hot water in it. As he pours, the crema stays on top, creating a thick, frothy, golden-brown layer. "But you'll notice with my other option where I have the hot water here first and I'm gonna pour the coffee right over, you're gonna get a much deeper, richer crema." The second cup now looks much more visually appealing with its persistent crema. "And while that really doesn't have a huge difference on the final taste, uh, it is known to have a better first sip. You'll get a kind of more stronger coffee flavor, you'll notice more of the subtleties of the espresso, uh, you know, the different notes, um, and overall just presentation-wise, it does look nicer, a little bit more premium or rich to a customer." The video concludes with the barista addressing the camera. "Uh, you know, at the end of the day you can serve it either way, but, you know, provided you have the opportunity and ability to, I would—I would always recommend going pouring the shots over your water as opposed to sho-pouring your water over your shots."

The trainer, a young man wearing a brown cap and a brown 'Angelina' branded apron over a blue shirt, stands behind the counter of the bakery. "All right. So now we're gonna make, we're gonna start with the iced drinks, and the first iced drink I'm gonna show you is the iced Americano. Similar to the hot Americano, essentially it's just going to be water and espresso, although there'll also be ice here because it's a cold drink." He removes a portafilter from the large, silver industrial espresso machine and uses an orange rag to wipe it clean. He moves to the coffee grinder and says, "As always, pull your espresso right into your portafilter." He doses the espresso grounds into the basket and then places the portafilter on a rubber mat on the counter. He uses a heavy metal tamper to press the grounds down. "Even tamp. We already purged our group head." He wipes the edges of the portafilter and locks it back into the middle group head of the machine. "And unlike the hot drinks, there's no optionality in this. Since we're serving in plastic cups, you do not want to pull near boiling hot espresso right into a plastic cup. You're always gonna have to put it into a separate cup, ideally something like this." He holds up a clear plastic cup to the camera, then places a small stainless steel pitcher under the espresso machine's spout. "So we're gonna pull our double shot there." He presses a button on the digital display to start the machine. While the coffee is brewing, he holds up a 16-ounce clear plastic cup. "And right now I'm making a small iced Americano which is a 16 ounce drink with a double shot." He sets it down and picks up a larger 24-ounce cup. "If I wanted to make a large iced Americano, I would use the 24 ounce cup with three shots." He steps away from the machine to the ice dispenser. "Now I'd say especially for iced Americanos, you're gonna really want to fill it up with ice. People tend to really like a refreshing and not too watered-down iced Americano." He scoops ice into the 16-ounce cup until it is overflowing. "I'm going to go quickly add some water to this, I'll be right back." He disappears from view briefly. He returns with the 16-ounce cup filled with ice and water. "All right. Now I'm back with my cup of ice water. Notice I just left a little bit of room for the espresso. If the customer had wanted maybe some milk in there, maybe I would have put a little bit less water to leave some room for that. In this case we're just making a black iced Americano." He picks up the small metal pitcher which now contains the finished double shot of espresso. "So now we just pour the shots right over." He pours the dark espresso into the ice water, where it creates a marbled effect before mixing. "And that's it." He places the cup on the counter and picks up a clear plastic lid. "Just put a lid on and we're done." He snaps the lid onto the cup and shows the completed iced Americano to the camera.

The video begins with the barista, a young man wearing a brown Angelina's Bakery apron, a blue button-down shirt, and a brown baseball cap, standing behind the counter in front of a professional-grade espresso machine. "So now we're going to make an iced latte," he says. Behind him, on the top of the machine, are several stacks of white ceramic cups and saucers. On the wall behind the machine, there's a light green background and digital menu boards. He begins preparing the espresso by knocking the portafilter against a knock box to remove old grounds. "An iced latte is very simple, kind of similar to the iced Americano, almost exactly the same except instead of water, we're going to have milk." He continues to clean the portafilter with a cloth. He then moves to the grinder, fills the portafilter with fresh coffee grounds, and tamps it down firmly on a black rubber mat. "Pull your espresso in. Don't forget to purge your group head," he advises while pressing a button on the machine to let a short burst of hot water flow through the group head before locking the portafilter in place. He then moves to explain the addition of syrups. "Now before we pull our shots, something that's going to be very common with an iced latte is that people are going to want to add syrups. You know, vanilla, caramel, hazelnut, you know, here Nutella, chocolate. And unlike a hot drink where, you know, the syrups can naturally easily mix in with the hot liquid, with cold drinks, if you just put your syrup into your cup, it's going to sit at the bottom. It's not going to mix in. They're going to have a few sips of just syrup and then everything's going to just taste like coffee after that." To demonstrate the correct way, he says, "So in this case, I'll turn this iced latte into an iced vanilla latte. So I'm going to actually want to add my syrups to whatever cup I'm pulling my shots into." He picks up a small metal pitcher and adds three pumps of vanilla syrup from a bottle with a pump dispenser. He then places the metal pitcher under the portafilter and starts pulling the espresso shots directly into it. "This way, the syrup can kind of mix together with the espresso, so as the espresso kind of mixes into your drink, so does the syrup. And so instead of having very sweet sips in the beginning and then followed by very little flavor, you're going to have a nice balanced level of flavor throughout the drink. I would say for a small, do somewhere between two and three pumps. For a large, probably just around three full pumps, you know, maybe four if they want it on the sweeter side." While the espresso is pouring, he gets a 16-ounce clear plastic cup. He bends down to fill it with ice from a bin below the counter. "So we're going to get our 16-ounce cup. Generally, you want to fill the cup pretty well with ice. However, unlike the iced Americano, it's not as important to get it all the way full up." He then takes a gallon of whole milk and pours it over the ice. "For this one, I'm going to use whole milk. And just like the iced Americano, you're going to want to leave a little bit of room at the top so you can fill—put your espresso in without overflowing." He picks up the metal pitcher containing the espresso and syrup mixture and swirls it gently. "Since I've added syrup to this espresso, just to make sure it's better mixed, I'm going to swirl it around a little bit in this cup. That way I can really make sure the syrup's mixed in with the espresso." He then pours the dark espresso mixture over the milk in the plastic cup, creating a beautiful marbled effect as it sinks through the ice. To ensure no syrup is wasted, he goes back to the espresso machine. "And whenever I'm using syrup, there's always still going to be a tiny bit of, you know, syrup left in there. I don't want that going to my other drinks and also don't want to waste it. So I always just like to put a tiny bit of hot water, swirl it around, put it right into the drink." He dispenses a small amount of hot water into the metal pitcher, swirls it, and pours it into the latte. Finally, he snaps a clear plastic lid onto the cup. "And then lid on. That's your iced vanilla latte," he concludes, holding up the finished drink.

I'm going to show you how to make a matcha latte. So, I'm going to do a hot matcha to start. The easiest way is take the cup you're making your matcha in, put a little bit of hot water - not too much, maybe like three quarters of an inch. Uh, any more than that then you're going to just have too much water, you're not going to leave enough room for the milk. If you put too little, it's going to kind of become somewhat of a muddy paste, and that's hard to work with and it's unlikely that you're going to have it properly mixed. [The barista is at the espresso machine and adds about 3/4 of an inch of hot water to a white paper cup] So for a small, I'm going to get just a little bit over a nice heavy teaspoon of matcha. If I was doing a large, same amount, just probably maybe another half teaspoon or so. [He reaches for a glass jar with green matcha powder and uses a small green spoon to put some in the cup] So, you know, right now we're obviously doing a matcha, but in some locations you'll also have a turmeric latte. There's almost no difference to the technique involved. It's going to be the same, same amount of hot water, roughly the same amount of turmeric powder, and you're going to blend it just the same. [He is using a small handheld electric whisk to blend the matcha and the hot water] Always rinse your mixing utensil, you know, hopefully you have one of these electric whisks. If you have a manual whisk, same thing, you're still going to want to rinse it. If you let it dry, it's becomes much more difficult to keep clean. A quick rinse right after using it is going to make it instantly clean, ready for the next drink, and you know, it's just going to look nicer. [The barista rinses the whisk under a hot water tap on the machine] So for this I'm going to be steaming some oat milk. No difference in the technique compared to regular milk. As usual, slightly off center, add a little air because this is a latte, matcha latte, same style as a cafe latte. You know, dip your steam wand in, texture it up. [The barista pours some oat milk into a metal steaming pitcher and then uses the steam wand to steam the milk] Now, unfortunately, if you are using the electric whisk, as efficient and convenient and good it is, it's going to create a little bit of this matcha foam on top that doesn't impact the quality of the drink. In fact, using this is going to ensure quality much better than a manual whisk. However, there isn't really going to be an opportunity to make particularly nice designs on top because that foam is just kind of block out any attempt to have control over the milk. [He starts to pour the steamed milk into the cup] So don't be discouraged if all your matcha pours tend to look a lot uglier than your regular latte pours. It's just the reality of using a good tool like that. [The cup is now full of the light-green latte, topped with a very rudimentary piece of latte art]

"So now we're gonna be making an iced matcha," says the trainer, a man wearing a brown Angelina's Bakery cap, a blue denim shirt, and a brown apron. He stands in front of a large, shiny silver espresso machine. "Very similar to making a hot matcha. Only difference is, kind of like the iced latte, it's just gonna be milk and ice and then your matcha mixture poured over." He picks up an empty 24-ounce clear plastic cup to demonstrate. "Since we're not going to be able to make our matcha base in a plastic cup like this again, we're gonna need hot water. Hot water straight onto plastic, that's not good. So I always like to try to use a reusable cup when mixing my matcha for iced drinks. Same goes for a turmeric iced turmeric latte. So in this case I have a spare steaming jug I don't really need to use for milk, so I'm going to use that to mix." He picks up a small, empty stainless steel steaming pitcher and places it under the hot water outlet of the espresso machine. He presses a button, and a small amount of steaming water fills the bottom of the pitcher. "You know, just put a little bit of milk—I mean, I'm sorry, a little bit of hot water." He steps to his right toward a secondary counter filled with jars. He opens a jar containing green matcha powder and uses a small green plastic measuring spoon to scoop the powder into the pitcher. "And since we're doing a large here, do one nice big teaspoon and then around another half teaspoon." He picks up a small, battery-operated handheld whisk and places the frothing head into the pitcher. He activates the whisk, creating a loud whirring sound as the powder and water are blended into a thick, vibrant green concentrate. "My whisk." He continues to blend the mixture thoroughly. "Just like the iced vanilla latte I made earlier, if I was to add any syrups to this, I would add them right now and mix them in right now." After finishing, he returns to the espresso machine and holds the whisk head under the hot water stream to clean it. "Rinse your mixing tool." He reaches below the counter and brings up a 24-ounce plastic cup filled with ice. "All right, so I got my large 24-ounce cup filled up with ice and I'm gonna pour—fill it up with milk." He picks up a gallon jug of whole milk and pours it over the ice, stopping about an inch below the rim. "Just enough here. Always want to leave a little room and just your mixture right in." He takes the pitcher of concentrated matcha and pours the dark green liquid over the milk and ice. The matcha slowly sinks and swirls through the milk. "Typically you would like to give it just a little bit of a swirl before giving it to the customer. You don't want that first sip to just be all matcha, it's going to be quite bitter." He gently rotates the cup with his hand, causing the green and white liquids to marble together. "So give it a nice mix so it's a little bit mixed up. You don't have to get it all the way, that would take maybe a little bit too much time in some situations." He holds up the completed iced matcha latte, which is a pale green color with visible ice cubes.

A title card on the left reads "BARISTA BASICS - HOT & ICE CHAI LATTE". A barista wearing a brown "Angelina's Bakery" apron, a blue denim shirt, and a brown baseball cap stands in a brightly lit bakery. His right hand and wrist are wrapped in a white bandage with black tape. Behind him is a large espresso machine. He begins by explaining how to make an iced chai latte: "So I'm gonna be making a... iced chai right here. So with the chai, you're gonna have a pre-made concentrate pretty much in every location. And the way this is gonna work is that it's gonna be 50-50: 50 percent the concentrate, 50 percent of whatever milk the customer wants." He holds up a large brown plastic jug of chai concentrate to show the label. Moving to prepare the drink, he says, "So since we're doing an iced one, there's not a lot to it. I'm going to be doing a small, 16-ounce cup." He takes a clear plastic cup and fills it with ice from a bin beneath the counter. "Fill it up with ice. And then I'm going to be putting the milk first this time. There's not really a better way of doing it, that's just the way I'm used to. I'm going to fill it up just over halfway." He pours milk from a large gallon container over the ice until the cup is slightly more than half full. He points to the cup's width, explaining, "Reason for that, the circumference of the cup is way higher at the top than the bottom, so this is going to give you a more even split." He then picks up the chai concentrate jug and pours it over the milk and ice, filling the cup to the top. "All I have to do now is just pour my chai over the top to the brim." He places a lid on the cup and gives it a gentle swirl to mix the tea and milk before handing it to a customer. "Throw on a lid and, you know, just give it a nice little swirl. All right, ice chai." A woman's voice off-camera says, "Thank you so much," and he replies, "You're welcome." Next, he prepares to make a hot chai latte. "All right, now it's time for the hot chai. Now we're going to be making a hot chai. Hot chai is you're going to take... it's the same thing as the iced, where it's going to be half milk, half of your chai concentrate." He picks up a black metal steaming pitcher. "Now, this is something that's going to be useful whenever you're steaming something, steaming milk, but specifically for the chai, it's going to be really good to pay attention to this. In most of the steaming jugs you use, you'll look on the inside and you'll notice that they have little measurements." He tilts the pitcher toward the camera to show the etched measurement lines inside, labeled with ounces and milliliters. "Typically it's going to be in ounces, sometimes it's going to be in ounces and milliliters. But because we're now going to make a small chai, hot chai, that's going to be a 12-ounce drink." He points to the markings inside. "And you can see inside here, if you look close enough, there are little markers. And even though it's not going to go all the way down to that 6-ounce mark, you can roughly tell towards the bottom of the measurements there, that's going to be around 6 ounces." He pours the brown chai concentrate into the pitcher. "So, I'm going to take my chai, or my milk, in this case I'm going to go chai first. Pour it in, and if we look closely, I'm towards the bottom of the measurements, that's going to be just about 6 ounces." He then adds milk to the pitcher. "And you know, you'll have noticed that in there you could also see a measurement for 12. So I'm just going to take my milk, then pour it up to the 12-ounce mark, in between the 10 and the 14." With the pitcher filled to the 12-ounce line, he moves to the espresso machine. "So now I have just about 12 ounces of liquid in there. And the good thing is, once you get used to doing that and you kind of build some muscle memory and you can visually kind of tell where the levels are at, you can kind of do that without having to look at the numbers every time." He places the steam wand into the pitcher and turns it on, frothing the mixture. He holds the pitcher at an angle to incorporate air. "The important part here is that not only are we making sure that we're using just the right amount of liquid for the drink, but we're also making sure the customer's getting the exactly correct recipe. Now because we did add a little bit of air to give it a better mouthfeel, we'll probably have a little bit left over, but that's not really a problem." He finishes steaming, wipes the wand with a pink cloth, and pours the hot chai into a white paper cup. "Majority of this will be going into the customer's cup. And you just pour it straight in, pretty much to the brim." He finishes the pour, showing the cup filled perfectly to the top. "And you notice because we measured, that was basically exactly perfect. I have almost no liquid left in and a perfectly filled cup."

"All right, so in the steaming jug right here," [A man in an Angelina's Bakery apron holds a black metal steaming jug filled with milk.] "I have just, you know, it's halfway full, about 10, 11 ounces of milk. And I'm going to show you how to auto-steam this." [He points to the milk in the jug, showing the level.] "Um, right here we have the auto-steamer on the right side." [He gestures towards the coffee machine, specifically the steaming wand on the right.] "There's going to be- the programming might be slightly different depending on your location. Uh, you should ask whoever's your manager or someone more senior at your location to verify how your specific machine works." [The camera zooms in on the digital display above the steam wand.] "Over here, we have our machine set up uh where the left button is going to be for latte-style milk and the right one's going to be for cappuccino-style milk." [He points to the two buttons on the digital display.] "Now we're going to want to insert the steam wand tip into our jug," [He lowers the steam wand into the jug.] "but if you notice, if I set it down flat, my auto-steamer is not quite reaching my milk." [He shows that the wand tip is above the milk level when the jug sits on the tray.] "And if I turn on the steamer, it's just going to blow hot air- hot steam everywhere, and it's just going to be a mess. You know, to avoid this, just got to get a little creative and I'm just going to put this underneath it," [He places a small metal container under the jug to elevate it.] "and now it's directly in, and I'm going to let it go." [He presses the latte button and the milk begins to steam, with a 'H.P. 1' icon appearing on the screen.] "You'll notice it steams slower than if you were to manually steam it, but that just allows this automatic mechanism to have a little more control." [The camera focuses on the milk swirling in the jug. A digital thermometer on the machine shows the temperature rising from 18°C up to 62°C.] "And you'll see it has this really nice temperature reader. I believe we have this one set up to cut off around 61, 62 degrees Celsius, which is right in the ballpark of what is considered the perfect temperature for steamed milk. You notice-" [The steaming stops automatically.] "and with the lattes, it typically does a very good job where it looks almost identical to when I manually steamed one," [He removes the jug and wipes the wand with a cloth. He shows the smooth, micro-foamed milk in the jug.] "that took almost no- no effort at all. And during that time, even though it took longer, I'm totally free to do whatever else I need, you know, prepare other drinks, pull the shots for whatever drink I'm making with this. So it really opens up your ability to do more at once." [He swirls the milk in the jug, demonstrating its consistency.] "And if you're someone who's just not very experienced using the manual steam wand, it really allows you to produce a quality cafe drink with minimal training and experience." [He gestures as he speaks, emphasizing the ease of use.] "It's extremely helpful if you have multiple milks to steam on one order, and because, you know, typically I can only steam one milk at a time, but if I have to steam oat and almond and whole milk all at one time, you know, putting a couple of those on my auto-steamers allows me to pump out drinks much more quickly." [The camera pans to show the full coffee station with multiple machines and another employee in the background.] "And on top of that, I don't have to steam one in succession after the other, I can steam them all at the same time so that I can hand out the whole order together, and all the drinks will be freshly made and, you know, hot."

"So now I'm going to be demonstrating uh auto steaming some cappuccino style milk." The barista stands in front of a high-end, multi-group espresso machine with several digital displays. He points to a circular interface on the left side of the machine. "Now there is kind of like one key difference you're going to notice here from the latte where we kind of have two different settings for this cappuccino. It's going to be both for a dry cappuccino so it's going to be a lot of air, extra foamy. Uh and then there's also going to be one for more I guess moderately aerated cappuccino, a little bit more modern, a little bit more milky." He prepares a black metal pitcher. "So I'm going to start out with the extremely aerated or kind of dry cappuccino milk, which means it's going to be very foamy. So I'm just going to press that once, let it go." He inserts the wand into the pitcher and presses the button. The display shows 'FP. 1' and a temperature counter starting at 08°C. "And you know now that that's running I can pull the shots for the cappuccino instead of having to be stuck here holding a steam wand, I'm free to do whatever else I need to do. It's one of the great benefits of using an auto steamer." He moves to the right to pull shots on the main machine while the milk continues to steam. After the steaming finishes, he removes the pitcher and wipes the wand with a white towel. "Now if we look here it's almost doubled in volume, you know, it is maybe not the smoothest microfoam but you know especially with cappuccinos if you let it sit for just you know a 10-15 seconds and then you tap it firmly but lightly - you don't want to splash your milk everywhere - but enough force to break up some of those bubbles and then just give it a bit of a twirl, you're going to end up with not the best but some pretty good and very a very acceptable level of quality cappuccino milk." He taps the pitcher on the marble counter and swirls the milk. Finally, he pours the dense white foam into a white paper cup containing espresso.

And for the second example I'll be showing you kind of a less aerated, more modern or wet cappuccino. It's gonna definitely be milkier and just a little bit less foamy. The barista holds a silver milk pitcher with some milk in it, ready for the demonstration. So here we go. He places the pitcher under the steam wand of the espresso machine. So in this case I'll be double tapping this button to go to my second cappuccino setting, FP2. He taps a digital screen on the machine. The screen shows "FP.2". Steam starts as the machine activates. The camera pans out to show the whole row of professional espresso machines. A digital display on the left shows the temperature rising from 8C, 10C, 17C, and so on. And the process is very similar to doing the other kind of cappuccino, you put the milk on the auto steamer and you let it do its thing. The milk is steaming as the temperature continues to rise on the digital display. It reaches 60C and says "End". Now that it's reached its desired temp, it's done. He removes the pitcher. He wipes the steam wand with a white cloth to keep it clean. And you'll notice with this one, the air bubbles are definitely smaller, the volume has ended up being increased by maybe 50%, closer to 50% than 100%. He holds the pitcher, looking at the milk. He taps the pitcher on the counter and swirls it to achieve the right consistency. Uh, so by having these two settings we're allowed to accommodate two different kind of cappuccino drinkers, uh, while still using the Auto Steamer for all of it. So basically not only is the Auto Steamer going to allow you to, you know, make quality milk of, you know, latte or cappuccino, but there is a little bit of variation that allows you to have more control over the product and to whatever the customer might specifically want. He continues swirling and tapping the pitcher to show the final consistency of the milk.

"So previously I had just made a couple of small cappuccinos." A barista in an Angelina's Bakery apron tamps coffee grounds into a portafilter and prepares it for the machine. "Right now I just got a large one and just to demonstrate to you what that looks like instead of this 12-ounce cup, I'll be using this 16-ounce cup." He loads the portafilter into the large espresso machine. He sets aside a small cup and pulls a large 16oz cup from a stack. "And right here I'm pulling two single shots into different cups, but that's because in one of my dosing cups I have a double shot in there already. So now I'm going to have a total of three shots going into this cappuccino." He places a small metal pitcher and the large paper cup under the dispensers. The machine starts pouring espresso. "All right, so my three shots go in. I'm going to pour the milk, and then..." He combines the shots into the large cup and carefully pours frothed milk from another pitcher into the drink. He taps the cup on the counter to settle the foam and snaps a lid on. "So we made that large cappuccino which had three shots. But if you'll remember we're always pulling double shots, and because of that when you have an odd number of shots to pull you're always going to end up with something extra." The barista stands in front of the counter, addressing the camera directly. "So here I have this extra shot that now has been here for a couple minutes. We really don't want to waste coffee, you know, we do our best not to waste any coffee. And with these leftover shots they're still good to use for a little bit, I would say up to about five minutes. And the key here though is that if you're serving anything that is all coffee or all coffee and water, or at least mainly coffee and water—so we're talking espresso, macchiato, americano, even a cortado—you really don't want to use these shots for that because that just won't be the... the dropping quality from the time will be particularly noticeable. However, if you have a much milkier drink—something like a latte, a flat white, a cappuccino—a lot of the finer details of the espresso will kind of get canceled out. There's not really a distinguishable difference between a cappuccino or a latte made with shots that are a few minutes old versus one that are made with fresh shots." He gestures frequently with his hands, one of which is wrapped in a black support bandage. "So while you always want to try to use the freshest shots possible, we also don't want to waste coffee. So when provided the opportunity with the right drink always try to make use of it. Um, if for whatever reason that opportunity doesn't present itself, it is okay to get rid of that extra shot." He concludes the explanation while standing next to the chrome espresso machine.

In this video, a barista at Angelina’s Bakery gives a tutorial on how to be efficient with coffee orders. In the first shot, the barista is wearing a brown hat and apron as he stands in front of an espresso machine. He starts the video by saying, "So right there, we just made a latte, we just made a cortado. And you'll have noticed that I said for the cortado, you want to make a latte style milk. That means is we're steaming the milk exactly the same as if I was making a latte. So keep that in mind, so in case you ever get an order or you know consecutive orders where one's a latte and one's a cortado, that doesn't mean you have to steam milk two different times. You can steam milk for both drinks in the same jug because they're both going to use the same kind of milk in the end. So it's always good to think about what kind of drinks make the same kind of milk. And then that way, if you ever encounter a situation where you need to make multiple different drinks but they all use the same kind of milk, you know you can just steam one jug of milk, provided you have a large enough steaming jug for all those drinks. So if I had a latte and a cortado, you know a twelve-ounce drink and a four to five-ounce drink, I would just steam about fifteen sixteen ounces of milk in a standard jug instead of doing twelve in one and four in the other. And that would just save me time, make me more efficient. If I had a cappuccino and a macchiato for example, the same concept. The macchiato needs a little milk foam, cappuccino you steam and you create milk foam regardless. So you would always, so you could easily pair a macchiato and a cappuccino together by steaming just one jug of milk." While the barista talks, he holds a steaming jug and points to the different parts of the espresso machine and the cups he uses for various drinks. He then turns his attention to a tablet that is on the counter near the machine. On the tablet, there are several orders listed. He points to them as he says, "No, I think right here is a great example where, you know, disregarding the times, but let's say I got a ticket for this large cappuccino here and this double macchiato here. Then I look at that and I see I can pull the five shots, you know, two for the macchiato, three for the cappuccino, and then I can steam about twenty ounces of cappuccino style milk and then, you know, give the give some milk foam to the double macchiato and then use the rest of the cappuccino. You know, getting my getting those two drinks done in a more efficient manner. An example of what I wouldn't be able to combine is the drink right after the double macchiato, the latte. And because the latte uses, you know, a very milky, minimally foamy milk, whereas the macchiato is all about the milk foam, I wouldn't be able to properly steam a jug of milk to both make a macchiato and a latte. If I did, I would have to be cutting quality on one or the other or making one of the drinks improperly. So it's always good to know which drinks you're able to make at the same time, but also you have to be aware that you can't make all drinks in this at the same time."

Common requests you'll receive from customers, um, there's a variety of them but I'm going to try to just touch on the ones you're most likely to see. The first one is actually going to be something, it's going to be a dry or wet cappuccino. [Description: The trainer, a young man wearing a brown Angelina's Bakery apron and cap, stands in a busy bakery in front of a white and blue espresso machine. He gestures with his hands as he explains the difference between a dry and wet cappuccino.] All that really means is the wetter the cappuccino is, the less foam it has, and the closer to a latte it might be. And then if it's a dry cappuccino, they want it extremely foamy. So, you know, instead of maybe nearly doubling the milk volume, you're going even further than that, whereas if you're going to do a wet cappuccino, you're going to do maybe 50% volume increase. Um, that's all really a dry and wet cappuccino means. Another thing with lattes that you're going to run into, people will ask for a breve. [Description: Behind the trainer, other staff members are busy working and moving around the counter area.] And what a breve means is they want the milk to be replaced with half-and-half. That's it, everything is made exactly the same, you're just using half-and-half instead of whole milk. When it comes to espresso, you're going to get two very common requests: that's going to be the ristretto and the lungo, or a short or long shot. [Description: The trainer reaches for the portafilter and begins demonstrating the process. He taps it against the counter to settle the grounds and then uses a black metal tamper to press them down firmly on a rubber mat.] So I'm just going to pull a standard espresso shot, except I'm going to make a ristretto this time. [Description: He inserts the portafilter into the espresso machine and places a small white paper cup underneath. He presses a button on the front of the machine and the dark espresso begins to pour into the cup.] You don't have to use the little cup, I just like it. So here everything is normal, you know, on my machine, I'm lucky to have it set up and programmed where I do have a button specifically for ristretto, but in many locations you might not necessarily have that, so I'm just going to show you how to do it the more manual way. So I'm actually going to pull my shot as normal, and the only difference is I'm going to want to cut it short. I don't want to run all, the full amount of water through. So we've been pulling at around 30 seconds for now, so I usually aim to be at about 70-75% of whatever time we're fully pulling a shot at. So I'm paying attention, 22 seconds, that's about just under 75% of the time, pull it short and you end up with this nice little more intense and like more easily drinkable shot of espresso, often called a ristretto or sometimes you'll just be here called a short shot. [Description: He holds up the paper cup containing the short espresso shot for the camera to see.] So another variation on the espresso that is a fairly common request you're likely to receive is a lungo or a long espresso. All that really is is, you know, as opposed to the ristretto where we cut the water off short, you actually want more hot water in here. [Description: He prepares another shot in the portafilter, tamping it as before and placing it back into the machine.] There are two ways to go about this, uh, I don't have a personal recommendation one way or the other, it doesn't make a particularly big difference. So I'm going to pull my shot like normal, I do have, just like the ristretto, I do have my machine programmed to have a lungo setting, but since that's not necessarily a standard you're going to see in all locations, we're just going to show you how to do it without any programming changes. [Description: He places the cup under the hot water spout on the espresso machine and presses a button to add water to the espresso shot.] So my shot's pulling, and the two things you can do here to make it longer is you can one just straight up add hot water into it. All I would do is take some hot water, pour it right in, and then now you kind of have a long shot. [Description: He holds up a small ceramic cup with the espresso and added hot water.] There's the other alternative, which is kind of more efficient and is preferred by some customers and is how I typically do it, is instead of going and just adding some hot water, I'm just going to press pull a shot again. [Description: He starts the machine again and lets the espresso flow directly into a small white paper cup.] But I don't want to pull the full amount, I just want to add a little bit of water, and that's going to impart just a little bit more coffee flavor, and once it reaches the desired height, about where I had it when I just added water, I'm just going to turn it off. And notice it's a similar end result, just a slight variation in technique. [Description: He holds up the cup with the long shot of espresso.] Use whatever, do whatever you feel comfortable with. And then the last one is just going to be extra hot. [Description: He takes a large plastic jug of milk and pours it into a black metal pitcher. He has a black bandage or wrap around his left wrist and hand.] All right. And then the most probably the most common modification you're going to get on a drink is going to be to make the milk extra hot. It's very straightforward, everything's going to be the same, you're just going to steam the milk longer. Now you notice in pretty much every one of these examples, I steam the milk like this, I have my hand on the jug, I feel like I have more control that way as well as I can feel the temperature of it more easily. But you're going to notice here, to make it extra hot, at some point I'm going to have to change how I hold it. [Description: He inserts the steam wand into the pitcher and begins steaming the milk, keeping his right hand on the side of the pitcher.] So right now I'm steaming some extra hot latte milk, everything is normal, you know add a little air, texture the milk, but it's going to reach this point where it's too hot to hold but that's still not extra hot for most customers, so you let it run even further. [Description: He removes his hand as the milk gets hotter and the sound of the steam changes to a higher pitch.] And as you hear the sound kind of die down, you're going to want to cut the steam wand, be done. A good way to tell that you've gone too far, or now is the time to immediately stop, is the second you start seeing the milk rise, increase in volume even though you're not adding air to it intentionally. That means you've reached the point where some of the milk is starting to boil and then that's the point where you don't really want to go further than that. You know, not only is that going to negatively impact the flavor of the milk, but it's going to become so hot that no one can actually drink it. [Description: He stands in front of the camera again to conclude.] All right, sometimes you're going to get a wild combination of requests from a customer, and sometimes those requests won't quite make sense. A great example of a kind of an odd request that doesn't quite make sense and you might not be sure what to do with: sometimes you'll get someone who will order a cappuccino but then they'll say no foam to you. But as we've discussed, one of the core components of a cappuccino is foam, and then if you were to go no foam it'd basically be a latte. Uh, sometimes they might be confused, sometimes they might be misspeaking and they're not exactly saying it the right way. Um, the best way really is to just ask questions, and then if there's still some confusion, you know, just explain where you're at. You could be like, "a latte, that's the one with no foam, the cappuccino is the one with a lot of foam," and you ask them, "would you like a latte? Would you like it like that?" And then usually, you know, in that case they'll say yes, I want a latte, and then everything's solved. You know, if it's not something where you feel like you can really lead them to the correct answer, you might really have to just ask for what, you know, you're going to have to walk it through and figure out exactly what they want. Uh, sometimes they'll say, "I want a latte but stronger." You know, for some people that might mean a full-sized latte with an extra shot, so then you ask them, "would you like an extra shot?" Other times that means, "oh, I just want less milk," and then in that case then maybe you offer them a flat white or maybe even a cortado. As long as you explain your offerings, they're typically going to be able to identify what they actually want. [Description: The trainer smiles at the camera as the video concludes.]

"Now we're gonna start with the plain bomboloni. We're gonna spray the pan," says the trainer, who is wearing a tan apron and cap, as she sprays a large metal baking pan with cooking spray. She picks up small, round, flat dough disks from a cardboard box and starts arranging them on the pan. "Okay. You just have to make sure that you leave enough space so they can grow. Okay," she explains while placing the dough. She arranges the bomboloni in a 4x5 grid, making a total of 20 per tray. "So it would be four by five. Okay?" she says, confirming the layout. She then picks up the tray and walks towards a large stainless steel proofer. "Now we're gonna place them on the proofer." She opens the glass door of the proofer, slides the tray onto a rack, and closes the door securely.

A female employee wearing an apron with Angelina's logo, a cap, and gloves starts by introducing the defrosting process for bombolonis and croissants: "Hello guys. So right now we're gonna do the defrosting process for bombolonis and croissants. Right now we're gonna go to the walk-in freezer to get our bombolonis." She walks to a walk-in freezer and steps inside, where many boxes are stacked on wire shelves. She explains the inventory system: "Okay. So we do FIFO. We start from the top. We always have to make sure that we check our expiration date and the day they were made and the day that it's gonna expire." She points to labels on the boxes that clearly show production and expiration dates. She begins selecting boxes: "Okay, we're gonna start with plain bomboloni... plain croissant... and mini bomboloni." Back in the main kitchen area, she sets three boxes on the counter next to a stack of metal trays. She picks up a yellow spray can labeled 'Buttery Spread': "Okay. We're gonna start spraying the trays. So we shake it a little bit. We use butter... spray with butter. So we're gonna do it like this." She sprays a light mist over the tray from a distance, explaining: "We make sure you don't do it close because it's gonna be too much and then it's gonna be too much butter on the trays." Next, she begins placing small, round dough portions on the sprayed tray: "We're gonna locate the bombolonis like this. These are the mini bombolonis. Each line it fits five and each tray it fits 20." She carefully arranges them in a 4x5 grid, counting: "Five, five, five, five, five. Okay. We have to make sure we leave enough space for the bomboloni can grow without sticking together. Okay. And we're gonna now we're gonna put them on the proofer." She moves to a large, stainless steel proofer machine with digital control panels. She presses several buttons: "First we're gonna turn on the... the proofers. We're gonna start turning them on and putting in auto, okay? We're gonna do with both of them since we're gonna do croissants and bombolonis." The panels display 'AUTO' and have settings for temperature and humidity. She opens the lower door of the proofer and slides the tray onto one of the racks: "Okay, now we can place our bombolonis on the bottom. Just make sure that you're putting the bomboloni and the croissants separate because they have a different temperatures." She closes the door and gives final instructions while standing by the machine: "And make sure the proof- the proofer is cold before putting it inside. So proofer has to be cold at least turned it off hour and a half or two hours before putting the bombolonis for the next day."

The trainer, wearing a brown Angelina's Bakery apron and clear plastic gloves, stands in a kitchen holding a large metal baking sheet filled with eighteen pale yellow, circular dough discs. "So... okay so these are bombolonis, they are already proofed and dry. Bombolonis can take around three hours or three hours and a half to be proofed, or less. Depends of the prover of how it will work, the- make sure that your bombolonis are dry on the top before you cook them so it can come out in a nice round form. Okay?" She carries the tray over to a commercial deep fryer. "Now, we're gonna collocate them on the fryer. We're gonna grab them like this and collocate it on the fryer." She begins picking up the dough discs one by one and gently placing them into the hot oil. "Just make sure don't do this and drop it because it would splash the oil on top of you, so you have to make sure you slowly dip it on the fryer and do it quickly, so like that all the bombolonis will cook at the same time. Okay? Make sure you put your timing, three minutes." After filling the fryer basket with the dough, she picks up a sheet of parchment paper and places it on the now-empty metal tray. "And you get your paper and cover your tray." Using a long metal spatula, she gently nudges the bombolonis in the oil. "If the bomboloni gets too thick together, you just move them." After some time has passed, she uses the spatula to flip each one over. They are now a golden brown color on the fried side. "Right now, we're gonna flip them." As she flips them, some have a slightly uneven, lighter ring around the middle. "We're gonna put back our timer. This is why it looks like this because this is the part that it was- it was not dry. This is the- the wet side of the bomboloni. This is the wet side of the bomboloni, that's why it looks like this." She continues flipping the rest. Later, the timer goes off. "Okay, now we're gonna check the bomboloni. We're gonna flip them all again." She flips them back to ensure even browning. "Okay, we're gonna put it all to the- to the front side so when you grabbing it all are together. Okay." She uses the spatula to push the floating doughnuts toward the front of the wire basket. She then grasps the handles of the basket and lifts it out of the oil, hooking it onto the side of the fryer to drain. "Gonna pull it out. You gotta let it dry for a little bit." After a few seconds of draining, she carries the basket over to the tray lined with parchment paper. "Now, we're gonna move it and drop it." She flips the basket over, dumping the hot doughnuts onto the tray. "Put it back." She returns the basket to the fryer. "Organize your bombolonis." She quickly arranges the doughnuts into neat rows on the tray with her gloved hands. The scene shifts to a stainless steel counter where a large metal bowl filled with white granulated sugar sits next to the tray of fried bombolonis. "Now, we have to make sure that our bomboloni when we take them out from the fryer, we right away put the sugar on it, okay?" She picks up a warm doughnut and drops it into the sugar bowl. "So, we're gonna cover them on sugar, like this." She rolls the doughnut in the sugar, ensuring it's completely coated, then places it back on the tray. "Make sure the wet side of the bomboloni is in the bottom and this is the top, okay?" She continues coating the rest. "Now, all our bombolonis are covered on sugar. So we have Nutella bomboloni, we have strawberry bomboloni, we have raspberry bomboloni, we have chantilly bomboloni and we have Mont Blanc bomboloni. So we're gonna make one of each."

The trainer, a woman with heavily tattooed arms wearing a beige 'Angelina's' apron over a black polo shirt, a tan baseball cap, and clear plastic gloves, stands in a bustling bakery kitchen. She holds a large silver baking sheet with twelve unbaked, ring-shaped donut doughs. "These are our donuts," she begins. "So, the donuts are very proofed. We put them in the proofer for around two hours or three hours. We have to make sure that we check our proof—some of the proofers increase our donuts faster than the others. So you just have to make sure that you're checking your product—the time that you put it in and the time that you need to take them out, okay?" She presses her gloved finger lightly onto one of the doughs. "So, we leave the donuts at least 15 minutes outside so it can get a little dry. So when you cook them, it stays with the same form, okay? So now we're gonna cook them, okay?" The camera cuts to the fryer area. She carefully picks up a donut dough with both hands, supporting it from the inside and outside. "We're gonna grab the donut a little bit, not too much pressure, from the inside and the outside. And we're gonna locate it slowly on the fryer." She gently places the donut into the bubbling oil of a large commercial fryer. She repeats this with the rest of the donuts on the tray. If a dough sticks to the tray, she nudges it gently. "If it gets stuck, you just move it a little bit, so the form of the donut doesn't get messed up. You have to make sure that you're placing the donut on the wet side, okay? This is the wet part of the donut. So you need to place this part on the fryer first and then you flip it when it passed three minutes of cooking." She demonstrates by holding a dough and pointing to the side that was in contact with the tray. "When you put the wet side first to the fryer, it will basically get a form of the donut so it will not get messy or it will not deform the donut. So that's gonna cook faster and it's gonna give like a round form to the donut. If you cook it the wet part on the top, the donut is gonna have an ugly figure, so it's not gonna have like a round donut. You're gonna have like a saggy donut or you're gonna have like a triangle donut. So it's not a round donut." While the donuts fry, she prepares a new tray by lining it with brown parchment paper. "We're gonna take one of the paper and we're gonna place it on the tray. This is basically so you can move faster. We use this method so when we're taking the donuts out, the oil is basically gonna go straight to the paper. So that's one of the tricks that's good." She uses a large, flat metal spatula to separate donuts that have floated together and to check their color. "Spatula so you can flip your donuts when they are ready. Sometimes they can get stuck together so you can just move them. You can check them too if you see maybe the fryer is extremely hot so you can check them and see if the donuts are ready before time. But it's really good to always have the donut at three minutes, okay?" A timer beeps. She uses the spatula to flip each donut over. The fried side is a golden brown. "The time went up. You flip the donuts like this." She flips them all quickly. "You have to flip it quickly so they can all cook at the same time." She points with her spatula to a donut that is slightly misshapen. "So this is what happens when the donut is not dry enough, okay? The donut doesn't get a nice round figure like this one. You see the difference? This is a donut that was not dry enough, okay?" She resets the timer for another three minutes. After the second side is done, she flips them once more to ensure even coloring. "So now I'm checking my donuts and I see that I still have 30 seconds but my donuts are completely cooked. So I'm just gonna flip them all around. I'm gonna flip them all. Okay. This is the perfect color." She then lifts the entire metal frying rack out of the oil using its handles and rests it at an angle over the fryer to drain. "And we're gonna take the handles, we're gonna put them up. As you can see, I just twisted it so I can let it dry a little bit... let it dry a little bit." She slides all the donuts to the center of the rack, then carries the rack over to the parchment-lined tray and flips it over to dump the donuts onto the tray. She quickly uses her gloved hands to space them out. "Move it and put it back on the oil. Okay. When they're freshly take them out, you have to organize them because then this is gonna happen, okay? The form is not gonna be round, it's gonna be like this. So you have to organize them right away." She takes the tray back to the main prep table. "Right now we're gonna make our three flavor donuts, okay? We're gonna make sugar with sugar powder, we're gonna make chocolate—so it's gonna be like a glaze of chocolate—and we're gonna get regular glaze." She starts with the sugar donuts. She takes a warm donut and tosses it in a large metal bowl filled with granulated white sugar until it's completely coated. "So first I'm gonna start with the sugar donut. Please don't squeeze your donuts, okay? Treat them softly like this. You have to make sure you're putting sugar to your donuts right away when they're coming out of the fryer because if you don't do that, the sugar's not gonna get stick to the donut, okay?" After coating three donuts in granulated sugar, she places them on the tray and uses a small mesh strainer to dust them with powdered sugar from a plastic container. "Now, to our sugar donuts, we're gonna put sugar powder on top like this. This is the amount of sugar that you need, okay? So this is going to be our sugar donut." Next, she prepares the glazed donuts. She takes a large plastic container of white glaze (sugar powder and water) and shakes it to mix. "Now I'm gonna show you our glaze donut, okay? Our glaze is made with water and sugar powder. So before we put our sugar donut, we have to make sure that we move the glaze, okay? And we're gonna put our donuts inside." She dips a donut halfway into the glaze, lifts it, lets the excess drip off, and places it on the tray. "Clean the side of your donut and you locate it like this." She points to the sides of a donut. "Please use the sponge part of the donut. Don't use the flat part of the donut. This is how you know this part was the wet side of the donut and this was the part that was dry." She demonstrates by showing the difference between the "spongy" side and the "flat" side. "As you can see, this was the dry part, the wet part of the donut." She dips three more donuts into the white glaze. "Why the color change? Because of the donut is freshly made, the glaze will automatically, since it's sugar, it automatically attach to the donut. So when you eat the donut, it's gonna look clear because the glaze already is attached to the donut. So you don't need to dip it two times. This is the perfect donut." Finally, she does the chocolate donuts. She brings over a small container of dark chocolate glaze. "Now we're gonna do the chocolate donut. So this donut, why we leave it on the last? Since it's chocolate, we want to make sure the other donuts doesn't get dirty, okay? If you're using the same glove, it's make sure you leave the chocolate donut for the last." She stirs the chocolate glaze, then dips a donut in, holding it from the center hole and the outer edge. "Grab your donut like this. Your chocolate has to be straight. Drop your donut, grab it from the inside and the outside, and just leave it for a quick couple seconds and flip it." She repeats this for three donuts. "Do the same thing again. Move your chocolate, drop your donut, okay, leave it for a couple seconds. You have to make sure your donut is straight looking down, okay? Flip it." She presents the final tray with three chocolate-glazed, three plain-glazed, and three sugar-coated donuts. "So this is basically how your donuts is gonna look. These are the three flavors that we have, okay?"

"Right now, we going to make our Chantilly bomboloni," says the trainer. On a metal workbench, we can see several golden-brown donuts that have been rolled in granulated sugar. The trainer, wearing clear plastic gloves, takes one and uses the tip of a pair of yellow-handled scissors to "poke a hole on the middle" of the top side of the donut. He then puts the donut on a digital scale and uses a piping bag to fill the donut with cream. He explains, "The weight of the chantilly supposed to be 35 grams." He stops as the scale hits 34 grams and says "Okay, we have 34, that's totally fine." He moves the filled donut back onto the worktop. "Now, we gonna colocar some sugar powder on top, like this," he says as he taps a small sieve to dust the top of the donut with powdered sugar. Next, he uses the piping bag to add a small amount of cream to the hole he made earlier: "Okay, and we gonna do a small circle on the top with Chantilly." He picks up the finished donut and holds it in both hands to show it to the camera as he says, "and this is gonna be our Chantilly bomboloni."

"Right now we're going to make our Nutella Bomboloni," a trainer at Angelina's Bakery says, beginning the demonstration. She is wearing clear plastic gloves and has a tray of sugar-coated donuts on a stainless steel work table. She picks up one donut and uses a pair of yellow-handled scissors to poke a hole into the top center. "We're going to poke a hole on the middle," she explains. After poking the hole, she places the donut onto a digital scale. She takes a large piping bag with the Nutella logo and inserts the tip into the hole she just made. "We're going to weigh 35 grams of Nutella," she says as she pipes the chocolate-hazelnut spread into the donut. As the scale reads out the weight, she adds, "Okay. If it's two grams or three, it's totally fine. Just don't pass the grams that's necessary to have on the bomboloni." She removes the piping bag and uses her finger to smooth any excess Nutella that might have come out of the hole. Next, she takes a small handheld sifter filled with powdered sugar and taps it lightly over the donut. "We're going to do some lightly sugar powder on top," she describes as a fine white dust covers the donut. Finally, she takes the Nutella piping bag again and pipes a small, decorative dollop right in the center where the hole was made. "And we're going to do a small circle of Nutella on the top. And this is going to be our Nutella Bomboloni," she concludes, holding up the finished pastry to show the powdered sugar-coated donut with its Nutella centerpiece.

"Right now, we're going to make our pistachio bomboloni." The baker, wearing clear gloves and with a sleeve of tattoos on one arm, uses a pair of yellow-handled scissors to poke a hole into the top of a sugar-coated bomboloni on a stainless steel prep table. Several other bomboloni are also on the table. The baker then places the bomboloni onto a digital scale. They take a large piping bag filled with a thick green pistachio cream and insert the tip into the hole in the donut. They squeeze the bag, filling the bomboloni with the cream. "The weight up are supposed to be 35 grams. Okay. This is our pistachio." Once the weight is correct, they remove it from the scale and place it back on the metal surface. They take a small handheld sieve filled with powdered sugar and tap the side of it to lightly dust the top of the donut. "Now we're going to cover it on sugar powder." They then take the piping bag again and pipe a small, neat dollop of the green pistachio cream onto the center of the powdered sugar-dusted top. "We're going to do a small circle on the top of pistachio... and we're going to coloc- some pistachio on top." They reach into a nearby container and sprinkle a few pieces of chopped green pistachios onto the dollop of cream. "And this is going to be our pistachio bombolone." The baker picks up the finished bomboloni and holds it out towards the camera, showing off the golden brown donut with its white powdered sugar topping, the green cream dollop, and the chopped nuts.

"Right now, we're gonna create our raspberry bomboloni." A baker, wearing clear plastic gloves and with visible tattoos on their arm, picks up a sugar-coated bomboloni from a stainless steel counter where several others are already prepared. They place it on a digital scale. "The weight is supposed to be 35 grams." They take a large piping bag filled with dark red raspberry jam and insert the tip into the center of the bomboloni, squeezing until the scale shows the desired weight. "Now, if it um shows up a little bit, you just can clean the top of the bomboloni." They move the filled bomboloni to the side and wipe a small excess of red filling from the injection point with a gloved finger. "We're going to collocate some sugar powder on the top, like this." The baker uses a small sieve to dust powdered sugar over the top of the pastry. "And we're going to do a small circle of raspberry filling on the top." Using the piping bag again, they add a small dollop of filling right over the center. "And we're going to place a raspberry." A fresh raspberry is carefully placed on top of the filling dollop. "And this is going to be our raspberry bomboloni." The baker holds the finished pastry up to the camera to show the final product.

We begin with a close-up of a tray of bomboloni - small, round, sugar-dusted donuts. A baker wearing white plastic gloves and a brown apron with a green logo is using a pair of yellow-handled scissors to poke a hole in the center of each donut. "We gonna poke a hole on the middle," she says as she moves quickly through the rows. "This is going to be our Nutella bomboloni." She then moves to a digital scale on the stainless steel counter. There's a metal bowl of white sugar nearby. "When you are making the bomboloni you have to make sure on the scale you put an empty one to take the weight of the bomboloni, then you replace them." She places a single donut on the scale. "Each bomboloni is supposed to have 35 grams of filling." She takes a large piping bag filled with light pink strawberry cream and inserts the tip into the hole she poked earlier. As she squeezes the bag, the numbers on the scale rise. "Okay. 35 grams. This is the strawberry bomboloni." After filling a couple more, she takes a small handheld metal sieve filled with powdered sugar and taps it over the donuts, giving them a snowy white coating. "And we're going to do powdered sugar on the top of the bomboloni. Okay. This is the amount of powdered sugar you need." Finally, she takes the piping bag again and pipes a small, neat dollop of the pink cream right on top of the powdered sugar. "Then you're going to put a circle on top of the bomboloni." She reaches for a container of sliced strawberries and carefully places one half-strawberry on top of the pink dollop. "And you're going to place a strawberry on the top of the bomboloni. Okay. This is going to be our strawberry bomboloni." She lifts one of the finished strawberry bomboloni to show it to the camera before the video ends.

"So now, we're gonna make our Mont Blanc bomboloni, okay?" The trainer begins with a pre-sugared doughnut centered on a stainless steel prep table. "We're gonna poke a hole on the side of the bomboloni. So it's gonna be two of them, okay?" Wearing clear plastic gloves, the trainer uses the tips of a pair of yellow-handled scissors to pierce two small holes into the side of the doughnut. "We're gonna collocate our Nutella on one side. Okay?" They pick up a large piping bag filled with Nutella. "So I'm gonna put 15 grams of Nutella..." The trainer places the doughnut onto a digital scale and inserts the tip of the Nutella bag into one of the holes, piping the chocolate hazelnut spread until the scale registers 15 grams. "...and 15 grams of Chantilly. Okay." Next, they take a piping bag filled with white Chantilly cream and inject it into the second hole until the scale shows an additional 15 grams of weight. "If they overflow a little bit, you can just clean the top of the bomboloni." The trainer removes the doughnut from the scale and uses their gloved fingers to smooth over the holes where a small amount of cream has squeezed out. "We're going to do some powdered sugar on top." Using a small mesh sieve, the trainer taps powdered sugar over the entire top surface of the doughnut until it is evenly white. "And we're going to use our Angelina face on the top of the bomboloni." They carefully place a square stencil featuring the cutout of the Angelina's Bakery logo on top of the sugar-coated doughnut. "Lightly we're going to put some cocoa powder on the top. Okay, I think I need just a little bit more." The trainer uses another small sieve to dust dark cocoa powder over the stencil. "And we're going to remove the face. And this is how it's supposed to look. So this is our Mont Blanc bomboloni." They lift the stencil away to reveal the dark brown logo on the white sugar background, then pick up the finished doughnut to show the final product to the camera.

"Right now, we're gonna do the plain croissant." The trainer, wearing a beige cap, black polo shirt, and an apron with the Angelina's Bakery logo, stands in a commercial kitchen. She holds a can of cooking spray and proceeds to evenly coat a large, flat metal baking tray. "So you spray your trays, okay?" She sets the spray can down and reaches into a large cardboard box filled with frozen, pre-rolled croissant dough balls. "Just make sure when you put in the croissant you put in enough space so they can grow and put it sideways like this, okay?" She begins placing the croissants onto the tray, ensuring they are spaced several inches apart in rows. As she places them, she highlights an important detail: "We always put it on the end of the croissant. If you put it like this, might be the croissant might grow in a different way, so make sure that this part is on the bottom." She points to the small tail of the dough roll and makes sure it is tucked underneath, touching the tray. She continues to fill the tray with fifteen croissants in a 3 by 5 grid. "Okay, this is how our croissants are supposed to look, okay? Now we're gonna place them in the proofer." She picks up the full tray and carries it over to a large, stainless steel proofer cabinet. She slides the tray into one of the slots. "If your croissants move, you can just fix it before leaving in the proofer, okay?" Some of the croissants on the right side of the tray have shifted, so she uses her gloved hands to space them back out correctly. Once satisfied, she slides the tray the rest of the way in and shuts the proofer door.

The trainer, a woman wearing a beige 'Angelina' apron and a matching cap over her bun, stands in front of a large, industrial stainless steel proofer. "This is our proofer. Right now, I'm just going to show you the difference between a frozen croissant..." She holds up a small, compact, pale yellow piece of frozen croissant dough between her gloved fingers. "...and a croissant that's been in the proofer for two hours." She opens the proofer's glass door, revealing several racks of dough. She pulls out a tray of plain croissants that have puffed up to about double the size of the frozen one. "Okay? This is our plain croissant..." She then pulls out a tray of raspberry croissants, which feature a vibrant red and off-white spiral dough pattern. "...and this is our raspberry croissant. So these are the raspberry croissant. They're already proved and they already grew. So we can take them straight to the oven." She walks the tray over to a stack of industrial ovens. "We don't have to put no eggs on the top." She opens the door of the preheated oven, where the digital display shows 325 degrees, and slides the raspberry croissants onto the top rack. She then picks up the tray of plain croissants. These have a visible, shiny yellow coating on them. "And these ones are the regular croissant. They already have eggs on the top, liquid eggs." She slides this tray onto the rack below the raspberry croissants, making sure there is ample space between each piece of dough. "We put them separate so they can grow. And we're going to put them for sixteen minutes at 325." She uses the digital controls on the front of the oven to set the timer to 16 minutes. Later, the trainer is standing at a stainless steel prep table holding a finished, baked plain croissant. It is large, flaky, and golden-brown with a glossy finish. Behind her on the table are other finished croissants, including the red-spiraled raspberry ones and some green-spiraled pistachio ones. "Okay, this is our plain croissant. Our plain croissant we put it on the proofer for around four hours. They will elevate, they will proved. And we're going to take them out. We put egg on top of the croissant so it can look shiny. We put them on the oven for 325 for sixteen minutes. When we take them out, we glaze them and this is how it's supposed to look."

The trainer points to two trays of unbaked croissants on a metal counter: "Our plain croissant and mini croissant. The croissants are properly proofed. The volume is tripled. We let them dry out for approximately 10 minutes. Now the croissants are dried on top." He is wearing black clothes and a tan apron with the Angelina's logo. He picks up a clear plastic container of yellow egg wash: "What we need to do is we're going to egg wash them. We're going to egg wash our plain croissant. This is all egg with a brush gently brush the top of each croissant." Using a wooden-handled brush, he carefully coats each large croissant on the tray. "Once our croissants are egg washed, we're going to put them in the oven. Turbofan oven. Make sure that the oven is preheated. We're going to bake them at 330 degrees Fahrenheit or 170 degrees Celsius for approximately 13-14 minutes. But remember every oven is different, so you must know your oven. Some ovens heat up more, some ovens less. So make sure the timing could vary between 13 to 16 minutes." He carries the tray to a Moffat Turbofan oven that shows 330 on the display. "We're going to put them in the oven. Oven is preheated at 330 degrees Fahrenheit. As you can see we have five tiers. We're going to put it in the middle level. If we're going to bake five trays of croissant we're going to fill up the oven. If we're going to bake only three trays of croissant we're going to put the first tray at the bottom level, second tray in the middle level, and third tray at the top. Always make sure to leave some space between each tray. If we have to make the whole big volume production we can fill up the oven but the timing may vary. We might need to add a few more minutes when baking them. So I'm going to put my tray in the middle level. Close the oven and put the timer. I'm going to put 13 minutes and start. So the time will start counting. After the 13 minutes I'm going to check the color of our croissant and if we need I'm going to add one extra minute." He slides the tray into the center rack and adjusts the dials on the control panel. He then focuses on a tray of mini croissants: "These are our mini croissants. Mini croissants are proofed, they tripled in volume. As you can see they slightly moved around the tray since we sprayed the tray when placing the croissants before putting the tray in the proofer. They slightly moved and some of them slightly twisted. We can fix... make sure to fix the croissants before baking them. Croissants need to look like this. You see? Nice shaped. If your croissant looks like this... after the croissants are dried out for approximately 10 minutes we can gently move them and place them straight. Gently. We can do the same thing for our regular croissants. So gently grab them and replace them on the tray so when baking they're going to come out straight. Do not squeeze them, otherwise you're going to lose shape. Just gently grab them and replace them on the tray." Using both hands in black gloves, he carefully rotates and spaces the small dough pieces on the tray. "As soon as I've done that, I'm going to go ahead and egg wash our mini... Don't worry if you see the shape it's a little bit irregular. When baking they're going to get a nicer shape. So don't worry about that." He brushes them with the egg wash. Later, the oven beeps and he puts on a black heat-resistant glove. "Make sure when you open the oven not to open it completely but just slightly open like this so the humidity the moisture can just get out. Otherwise you might risk to get burned if you opened it like this. Just open it slightly and then as soon as the moisture came out you can open it completely." He cracks the door open to release a plume of steam before opening it fully to pull out a tray of large, dark golden brown croissants. "Our croissant... croissants are nicely baked. The color look... looks perfect. Nicely brown. This is the color we're looking for. As soon as we take our croissants out from the oven we need to glaze them with a sugar glaze. We have our sugar glaze here and with our brush we gently brush them." He places the tray on a stainless steel counter and applies a clear glaze. "So again the croissants were baked at 330 degrees Fahrenheit for 13 minutes. Ovens might vary so always make sure to know your oven." He then handles the mini croissant tray: "Here we have our mini croissants. We already fixed them on the tray and we egg washed them. Now we're going to put them in the oven. Same temperature as always. We're going to put them on the middle level. Close the oven. We're going to give them 9 minutes to start. After these 9 minutes we're going back and check on them." He sets the timer to 9:00. He notes: "Let cool down for at least 20 minutes before filling. Also really important make sure not to open the oven before 10 minutes after putting the trays inside otherwise the moisture will come out and the croissants since they're still baking they're going to flat they're going to go down. That's really important." After the timer goes off, he returns to the oven. "Open the oven. I'm going to check our mini croissants. Still missing a little bit of time maybe I'm going to give them one minute more since the ones in the middle are still slightly lighter. Just one minute extra." Finally, he takes the tray out: "Okay now we can take our mini croissants out of the oven. This is the color we're looking for. And we're going to gently brush them with our sugar glaze. Amazing." He glazes the small golden-brown pastries.

The trainer, wearing a brown Angelina's Bakery apron and clear plastic gloves, holds a large, golden-brown croissant. "Right now we're going to do our almond croissant," she says. She picks up a pair of yellow-handled scissors and uses them to poke into the side of the croissant. "We're going to use our scissors to cut it. Just poke the croissant, cut it on the side. Just going to open it up and cut the layers of the croissant." She cuts along the length of the croissant, opening it like a book. Next, she picks up a large piping bag filled with yellow almond paste. "Okay. With our almond paste, okay, we're just going to fill it a little bit. This much. Okay, like this." She pipes a generous amount of paste into the center of the opened croissant. She uses her gloved finger and then a long metal spatula to spread the paste evenly across the inside surface. "You can use our spatula to do it or... and now we're just going to do a small piping on the top, like this, with the almond paste." She closes the croissant and pipes a decorative S-shape of the almond paste along the top ridges. She then reaches into a clear plastic container labeled Almendra 01/30/25 filled with sliced almonds. "And we're going to use our almonds. Like this." She presses a handful of the sliced almonds onto the paste on top of the croissant until it is well-covered. "And we're going to cook it for around 10 minutes or 8 minutes, depends of how golden the almond will get." She places the prepared croissant onto a small metal baking tray. "We're going to put it on the tray." She walks over to a large Turbofan oven and places the tray inside. "We're going to put it on the oven for 10 minutes at 325." She sets the digital controls on the oven. After the baking process, she holds a now darker, toasted almond croissant. "Okay, and this is how the almond will look when it's ready." Using a small hand-held sifter, she dusts the top of the croissant with powdered sugar. "We're going to collocate a little bit of sugar powder on top. And that will be all."

The video begins with the chef holding a plain, golden-brown croissant over a stainless steel prep table. She says, "Now we're gonna start with our Chantilly croissant." Several other croissants are visible in the background, including one with green stripes. She continues, "We're gonna glaze the croissant first," and uses a pastry brush to apply a clear glaze from a small plastic container over the top of the croissant. Next, she picks up a pair of yellow-handled scissors and says, "Then, we're gonna poke a hole on the middle." She inserts the closed blades into the center of the croissant's top side, twisting slightly to create an opening. The chef then places the croissant on a digital scale. She remarks, "We're gonna do the weigh up of the croissant. So, since... okay we're gonna take it, we're gonna put it back and clear up. Okay." She tares the scale so it reads zero with the croissant on it. "We're supposed to have 40 grams of filling, so we're gonna do our Chantilly filling." She picks up a large piping bag filled with a light yellow cream. "We're gonna let the bag press to your hand and we're gonna fill them up." She inserts the tip of the piping bag into the hole she made and squeezes. After a first squeeze, she checks the weight, then adds a bit more until the scale reaches exactly 40 grams. "Okay, 40 grams." She removes the croissant from the scale and uses a small hand sieve to dust powdered sugar over the center of the croissant. "Now, we're just gonna powder on the middle of the croissant." Finally, she takes the piping bag again and says, "And we're just gonna put a small circle on the top. Like this." She pipes a neat little dollop of the cream right in the center where the sugar was dusted. Holding the finished pastry towards the camera, she concludes, "And this is our Chantilly croissant."

"Right now we're going to do our Nutella croissant." The baker holds a plain, golden-brown baked croissant. "We're going to glaze - going to glaze them." Using a pastry brush, they apply a clear glaze evenly over the top of the croissant. "Okay. We're going to poke a hole on the middle." They take a pair of yellow-handled scissors and press the tips into the center of the croissant to create an opening. "Okay. We're going to weigh them." The baker places the croissant on a digital scale to tare it. "Okay. We're going to fill them up. We're going to make sure like if you are using the piping with the Nutella, you do it like this." They pick up a large piping bag labeled Nutella. "Okay. Gonna fill them up. It has to be forty grams. So if you pass a couple ones, it's fine. It just cannot be more than forty or forty-five grams, okay?" They insert the nozzle into the hole and pipe the Nutella inside while watching the weight on the scale. Once filled, they move the croissant to a clean spot on the stainless steel table. "So now we're going to do half of sugar powder and half of cocoa powder and we're going to use our spatula." They lay a long metal spatula across the croissant, dividing it into two halves. Using a small handheld sifter, they dust one half with powdered sugar. "Just make sure you don't put that much sugar on the croissant or the bomboloni." They then shift the spatula to protect the sugared side and dust the other half with cocoa powder. "Okay. Now we're just going to do a circle on the top." Using the Nutella piping bag again, they place a small, neat dollop of Nutella directly in the center on top of the powders. "And this is going to be our Nutella croissant." They pick up the finished pastry to show the final result: a perfectly glazed croissant, half-dusted with white sugar and half with brown cocoa, with a Nutella garnish in the middle.

The video begins with a baker, wearing a green apron with the Angelina's Bakery logo and clear plastic gloves, placing a croissant with distinctive green and brown spiraled stripes onto a stainless steel countertop. "Now we're going to do pistachio croissant," the trainer says. The baker picks up a pastry brush and starts applying a clear, shiny glaze to the croissant's surface. "We're going to glaze our croissant," they explain, ensuring the entire top is coated. Next, the baker takes a pair of yellow-handled scissors and pokes a hole directly into the center of the croissant. "Okay, we're going to poke a hole on the middle," the trainer states. The baker then places the croissant onto a digital scale on the counter. "We're going to take our weight," the trainer notes. After zeroing the scale, the baker takes a large piping bag filled with a thick, pale green pistachio cream and inserts the tip into the hole they just made. "Okay, and now we're going to fill them up," the trainer says as the baker squeezes the bag. The trainer specifies, "It has to be 40 grams." The scale's display increases as the filling goes in, and the baker stops when it reaches 42 grams. "Alright, we got 42 grams. That's totally fine," the trainer comments. Moving the croissant off the scale, the baker holds a long metal spatula diagonally across the top of the croissant. Using a small handheld sieve, they dust powdered sugar over the exposed half. "We're going to do half sugar," the trainer says. The baker then removes the spatula and begins sprinkling finely crushed green pistachios over the other half. "And now, we're going to do half pistachio. Okay, you're going to drizzle it," the trainer instructs as the baker carefully covers the un-sugared section. Finally, the baker takes the piping bag again and pipes a small, neat dollop of the pistachio cream right in the center hole on top. "Okay, and we're going to do a small circle on the top," the trainer explains. A few more crushed pistachios are sprinkled onto the cream dollop. The baker picks up the finished product and holds it toward the camera, showing the clean diagonal line between the white powdered sugar and the green crushed nuts. "So this is going to be our pistachio croissant," the trainer concludes.

The video begins with a baker holding a plain croissant. She says, "For now we gonna do our raspberry croissant. Okay, gonna glaze them." She uses a brush to apply a shiny glaze over the top and sides of the croissant. Next, she states, "Okay. We're gonna poke a hole on the middle." She takes a pair of yellow-handled scissors and uses one blade to poke a hole into the center of the top of the croissant. She then moves the croissant onto a digital scale. "Okay. Take our scale. Okay. It has to be zero since we make the other croissants it's already set up at zero." The scale shows 0.000 kg. She picks up a large piping bag filled with dark red raspberry jam and says, "Okay. We're gonna colocate a piping bag. Okay. Carefully we're gonna put the filling inside so we don't pass our limit okay. 40 grams." She inserts the tip of the piping bag into the hole she made and fills the croissant until the scale reads around 0.040 kg. She adds, "If it pass two or three grams it's fine. Okay." After filling, she moves the croissant back onto the metal prep table. She takes a long, flat metal spatula and holds it over one half of the croissant. "Now we're gonna do half sugar powder." She uses a small sifter to dust powdered sugar over the exposed half of the croissant, creating a clean line down the middle. "We're gonna do a small circle on the top for the raspberry filling." She uses the piping bag again to squeeze a small dollop of jam right on top of the hole she previously made. "We're going to colocate a raspberry on top." She takes a fresh raspberry from a plastic container and places it on the jam dollop. Finally, she picks up the finished croissant with both hands to show it to the camera, saying, "And this is how our raspberry croissant supposed to look." The final product is glazed, half-dusted with powdered sugar, and topped with a fresh raspberry in the center.

"Right now, we going to do our strawberry croissant," the trainer begins. She is standing at a stainless steel workstation, wearing a tan cap, a black shirt, and a brown apron with the Angelina's Bakery logo. "First, we going to glaze them." She uses a pastry brush to apply a clear, shiny glaze to the top of one of several croissants on the table. "We going to glaze them like this. We going to poke a hole with our scissors or a small knife." She takes a pair of yellow-handled scissors and pokes a hole into the top center of the glazed croissant. "Please don't poke the hole all the way to the bottom because then the filling is going to come out, okay? Just poke the hole, take the pieces out and you have to make sure the croissants have the same amount of filling on all of them, okay?" She brushes away a few crumbs. Next, she brings a digital scale to the center of the table. "So we going to put it on grams, we going to place the empty croissant first and we going to take the weight. We going to take the croissant and you can see how much the croissant weighs, okay? We going to put it back." She tares the scale with the empty croissant on it. She then picks up a large piping bag filled with pink strawberry cream. "The croissant is supposed to be 40 grams, okay? So you going to fill the croissant, we going to put the piping bag, you going to grab it like this, you going to let the piping bag rest to your hand and slowly you going to fill them up." She inserts the piping tip into the hole and fills the pastry until the scale reads 40 grams. "Okay, so exactly it's 38 grams. A little bit more... and that's 40 grams, okay?" To finish the decoration, she grabs a long metal spatula and a small sifter filled with powdered sugar. "Now, we going to sugar powder half of the croissant. We going to sugar powder on top of the croissant, just the side of the croissant, okay?" She places the spatula diagonally across the croissant to act as a stencil. She taps the sifter, dusting one half of the croissant with white sugar. "With the spatula, you going to make the perfect side and you going to just put a small circle on the top." She lifts the spatula to reveal a sharp line, then pipes a small dollop of pink cream in the center. "And you going to place a half of strawberry on the top. It needs to be small so it don't look big on the croissant, okay?" She places a fresh strawberry half on the dollop. Finally, she holds up the finished product: "This is our strawberry croissant."

The video starts with a close-up of a coffee machine's touch screen interface. A trainer's hand, wearing a ring and a black bracelet, points to the screen as they explain, "So these are the various screens and um your main screen has your single espresso, your double espresso, and the triple espresso." They point to icons showing cups of varying sizes for each espresso type. Holding up a small white paper cup, the trainer says, "The single espresso is for one shot. The double espresso also fits in that cup." They then point to the triple espresso icon on the screen and hold the cup up again, stating, "The triple espresso will not fit in this cup." Swiping the screen to the next page of options, the trainer notes, "Um, the double and triple espresso are used for making small and large hot and iced lattes. For the hot lattes, for the hot cappuccinos, you have buttons. So we have a 12 ounce and a 16 ounce cappuccino." They point to the "12oz Cappuccino" and "16oz Cappuccino" icons. Pointing to an icon that shows two cups and "x2", they say, "And then this one right here where it has the times two, it allows you to make two small cappuccinos at the same time." The camera pans down to show the stainless steel coffee dispenser with two spouts. The trainer explains, "So you would put one cup under each spout and it would make two small cappuccinos." Swiping the screen again to show more milk-based drinks, the trainer says, "If you swipe, you have more options. You're going to see the 12 ounce latte, 16 ounce latte, and then two 12 ounce lattes. You see 12 ounce Americano, 16 ounce Americano, two 12 ounce Americanos." They point to each icon as they speak. The trainer then mentions, "One machine per shop will have decaf, so this right here is our decaf machine." The camera pans up to reveal two bean hoppers at the top of the machine, with a label on the right one that reads "DECAFFEINATO". Returning to the screen, the trainer says, "So it's set up to have single, double, and triple decaf for decaffeinated drinks. Decaf cappuccino, cappuccino large, and then two cappuccinos." They point to the decaf versions of the drinks. Swiping to the next screen, they add, "And then the same screen. Decaf latte, decaf latte, decaf latte, Americano, Americano, Americano, all decaf." The trainer swipes to a page with icons for smaller drinks: "This last page has the ristrettos. Ristretto is like a half shot of espresso, extremely concentrated. If people know, they'll know, they'll ask for it." They point to the three ristretto icons. Swiping again, they show the final options: "Here you have the cortado and then on the last page you have flat white." They point to the cortado and then the flat white icons on the final two screens.

The trainer, a bald man in a black shirt, stands at a coffee station. He points to the digital screen of a large, black espresso machine that displays a countdown timer and a rinsing icon. He explains, “And then you can see sometimes the machine will show this screen. It’s to rinse the internal tube that creates the lattes and the cappuccinos. You can either wait for it to count down, if you’re busy you can clear it, or you can tell it to go ahead and rinse.” He points to the green checkmark and red 'X' on the screen. He then reaches down below the counter and brings up a gallon of Farmland milk, placing it on the stainless steel workspace. He says, “Another important thing to note is that when you're not busy or in between drinks, you always want to make sure to not leave milk out on the counter because it’s obviously chilled so we need to put it back between every drink.” After setting it down momentarily to emphasize his point, he picks it up and places it back in the refrigerated area below. Finally, he holds up a small stainless steel milk frothing pitcher for the camera and says, “And then our dirty pitchers, we always take those to washing. If you're lucky enough to have a rinser, you can rinse them and put them back. If not, you have to wash them out.” He collects several used pitchers from the counter and walks towards a sink area further down the counter to clean them.

The video opens with a trainer standing at the coffee station, explaining that the process is straightforward. He begins by removing a black plastic filter basket from a FETCO brewer. "Okay. So to brew the coffee, again it's pretty easy," he says. He takes a large, circular white paper filter and fits it into the basket. "Take that, you take one filter, you push it gently down inside. Make sure that it's not folded up." He then slides the basket into the slot under the FETCO coffee grinder. He points to three buttons on the grinder: "Small, medium, large on this button," then points to the brewer's digital touchscreen, adding, "corresponds over here to small, medium, and large." He explains the need for freshness: "So we always want to grind this as close to the time that we need to brew it as possible." Next, he turns to the LUXUS coffee dispensers. He checks one by pulling the tap. "So this one here, we're going to check and make sure that it's empty. Because if it's full like this one and we brew on top of it, it's going to run all over the place." He also highlights a sliding lid on the top of the dispenser. "We also make sure there's a hole on top. You want to make sure that this is open or the coffee will brew down the sides." He places the dispenser under the brewer. "So we're going to do a small batch. So we press the small button." The grinder starts, and he says, "Wait until it's finished." After grinding, he pulls out the basket and inspects the grounds. "Then we look inside. You just make sure that no coffee grounds were ground down the side of the basket, otherwise those grounds will go inside the coffee." He uses his fingers to adjust the filter edges. Finally, he slides the basket into the brewer's track. "Then you slide it into the track. Make sure that it's aligned. And then we choose small." He taps the "Small" button on the touchscreen. "And there we have coffee."

The video shows the front-of-house training for the coffee station at Angelina's Bakery. The trainer stands behind a stainless steel counter equipped with a gallon of milk, stacks of cups, and various syrup bottles. Pointing to the syrup pumps, he explains, "Okay. So we can talk about the syrups. Each syrup gets the same number of shots, so a small drink gets two pumps." He then holds up a large Angelina's branded paper cup and continues, "A large drink gets three pumps. And then two shots, also three shots." He demonstrates by placing the large cup under a vanilla syrup pump and pressing it down three times. "So we can make a large cappuccino. Large vanilla cappuccino. Three pumps," he says, showing the cup. Next, he moves the cup under the espresso machine. "Three shots," he states as he selects the option on the digital touchscreen. While the machine prepares the espresso, the trainer moves to a side counter and applies a white label to the cup. "We can put on the sticker while we're waiting to keep ourselves organized if we have a lot of drinks." Returning to the espresso machines, he compares two different models. "I was using two different ones. This one just doesn't have a... it only has a latte button. You can see over here there's latte, cappuccino, an extra hot latte, and an extra hot cappuccino. Just because this machine is bigger, this one has fewer options." He moves to the larger machine to steam milk. Holding a metal pitcher under the steam wand, he uses a cloth to wipe it clean before and after use. "So again, we don't have table space over here. So before we move the pitcher away so we don't drip on the floor..." After steaming, he purges the wand with a quick burst of steam. Finally, he carefully pours the steamed milk into the cup of espresso, filling it to the top with a layer of foam. He notes, "Not too much milk left," as he finishes the drink.

"The next one that we'll do is an Americano," the trainer says as he stands in front of the La Cimbali espresso machine, which has a large touch screen and is surrounded by stacks of cups. "So the Americano is one of the drinks that you always use the screen for. There is a button: 12oz Americano, 16oz Americano," he continues, pointing to the screen and highlighting the two icons for the different sizes. "We have the 12oz cup," he says, picking up a white paper cup, "so all we do is we press 12oz Americano." He places the cup on the grate under the coffee dispenser and presses the corresponding button on the screen. The machine begins to grind and brew, and the screen displays a progress bar that says "Americano 12oz." "An Americano is hot water and espresso," the trainer explains while the machine works. "Most people drink it black, but some people will ask for it with a little bit of milk." As the machine finishes, the cup is filled with coffee that has a thin layer of light-brown crema on top. "Perfect. You can see right here: a perfect Americano," he says, taking the cup out and placing it on the counter to show it to the camera. "When making the Americano, one thing that you never want to do is use the tea water to manually fill the cup with water and then put the espresso on top. You always want to use the button," he says, pointing to the separate hot water spout on the side of the machine to emphasize that it should not be used for this drink.

A man in a patterned short-sleeved shirt stands in front of a professional Miscela d'Oro espresso machine. He begins by saying, "So this is for the iced Americano." He bends down to an under-counter ice machine, opens the door, and uses a plastic scoop to fill a clear plastic cup with ice. Standing back up, he says, "We fill our cup up with ice." Next, he picks up a small stainless steel pitcher and pours filtered water over the ice. He explains, "Then next you add your filtered water. You add it three quarters of the way or to the first lip," pointing to a line on the cup. He then places the cup under the machine's dispenser. He interacts with the machine's touchscreen, selecting the espresso options. He says, "And then for this one, since it's small, we'll add two shots." The screen confirms "Double Espresso" as the machine begins brewing. Dark espresso pours over the ice and water. He adds, "If it was large, we would have added three." Once the machine finishes, he takes the cup and presses a clear plastic lid onto the top. Holding the finished drink up to the camera, he concludes, "And that's our iced Americano. Again, most people drink it black, some people will add milk, totally up to you." Finally, he sets the drink down on the counter and steps away.

The trainer, a bald man in a grey patterned short-sleeved shirt, stands in a kitchen area with an espresso machine. He begins by showing two paper cups: "So we have the small which is a 12 ounce, and the large hot which is a 16 ounce. This one we don't have the branded one right now so it just looks like this." He holds up a branded 12oz cup with the Angelina's logo and a plain white 16oz cup. "Um we're gonna go over Cafe au Lait which is coffee with milk." He sets the larger cup aside. "We'll do everything in the small one." He walks to a hot coffee dispenser and fills the 12oz cup: "So the coffee with milk starts with hot coffee. Three quarters of the way full." He fills it to the 3/4 mark and brings it back to the counter. Next, he takes a gallon of milk and pours a small amount into a stainless steel frothing pitcher: "And it's just topped with a little bit of steamed milk. Put about 2 ounces, 3 ounces in the pitcher." He brings the pitcher to the espresso machine. "Put it under the wand and then you press the latte button." He places the steam wand into the milk and interacts with the touchscreen interface. Steam hissed as the milk is frothed. "When you remove it, it foamed up a little bit and you just top the coffee with the steamed milk." He takes the frothed milk and carefully pours it into the center of the cup, finishing with a small heart-shaped foam design on top.

A bald trainer wearing a short-sleeved blue patterned shirt stands behind a counter at Angelina's Bakery. He is positioned in front of a professional La Cimbali espresso machine. He starts by introducing the drink: "Let's make a cortado. So a cortado is roughly equal parts steamed milk and espresso." He holds a carton of Silk almond milk and a small stainless steel pitcher. "So we want to use the smallest pitcher available and measure out two ounces of milk," he says while pouring the milk into the pitcher. He then gestures to the machine's digital display: "And again, if this is whole milk, you want to be sure to use the buttons on the machine, it'll make the coffee for you perfectly. If it's any other milk aside from whole milk, you're going to do it this way." He places a white 8-ounce paper cup onto the machine's grate. "You're going to grab your 8-ounce cup, measure two shots, which are two ounces, and steam your milk." He presses the "Double Espresso" button on the touchscreen and then uses the steam wand to froth the almond milk in the pitcher. Once the espresso is brewed and the milk is steamed, he moves both to a stainless steel counter. "Now the two ounces of milk, when it's steamed, becomes about four to six ounces in volume." He demonstrates the increased volume in the pitcher before pouring the frothed milk into the cup with the espresso. "You add the two ounces of milk to the two ounces of espresso, and it will give you about that much, which will be just short of the 8-ounce cup." He holds the finished drink toward the camera, showing a light brown mixture with a layer of foam on top, filling the cup nearly to the brim.

A trainer stands behind the counter at Angelina's Bakery, ready to demonstrate how to make a classic espresso macchiato. He begins by explaining the name: "Let's do espresso macchiato. So macchiato means 'marked', so it's basically an espresso marked with foam." He gestures towards the large touchscreen on the La Cimbali espresso machine. He notes that the machine has automated settings for whole milk, but alternative milks require a different approach: "Again, if it's whole milk, there's a button. If it's anything else, almond milk, you're going to steam it in a pitcher." He reaches for a carton of Silk almond milk and a small stainless steel pitcher. "So we're literally just going to steam an ounce, maybe two of milk so as not to waste too much in the little pitcher," he says as he pours a small amount of milk. He then positions the pitcher under the machine's steam wand and selects the appropriate setting on the digital display: "We're going to hit cappuccino." As the machine begins the steaming process, he prepares the espresso component. "While it's steaming, we'll pull our shots. The macchiato could be a single macchiato or a double macchiato." He places a small, white paper sample-sized cup on the drip tray. "Single gets a single shot, double gets a double shot, but it always goes in the same cup. So we'll do a double." He taps the screen to start the double shot extraction. The machine grinds the beans and dark espresso begins to fill the cup. As the coffee finishes, he picks up a long-handled bar spoon. He makes a distinction between their version and other popular chains: "The macchiato that Starbucks serves isn't an actual macchiato, it's more like latte made with foam. The one that we have is, you're correct, the Italian style." He takes the pitcher of freshly steamed almond milk and uses the spoon to scoop a generous dollop of airy white foam onto the surface of the espresso. "So you take the foam and you just put about that much on top until the cup is like three-quarters full," he demonstrates, carefully placing the foam. Finally, he presents the completed drink to the camera: "Espresso macchiato." The result is a small cup of dark coffee with a distinct white "mark" of foam on top.

"Okay, flat white. Let's go." The trainer stands behind the counter at Angelina's Bakery, next to the espresso machine. "To the pitcher, you add six ounces of milk." He picks up a metal milk pitcher and a carton of Silk almond milk. "And this is if it's not whole milk. If it's whole milk, you press the button on the screen. It's that simple." He gestures to the touch screen of the La Cimbali espresso machine. "To the pitcher you add six ounces." He pours the almond milk into the pitcher. "Now, typically, this is served in an eight-ounce cup." He picks up a white paper cup. "It's gonna be one size smaller than this. Right now, we only have the twelve-ounce cup, so we're gonna put it in a twelve-ounce cup." He holds the cup up, indicating its size. "The flat white is essentially a latte but with less milk." Using his hand, he indicates on the cup that it should be filled less than a standard latte. "So we're going to put the milk on and press Latte Steam." He places the pitcher under the steam wand and taps the 'Latte Steam' button on the machine's interface. "And then for one flat white, which is eight ounces, we do a double shot of espresso." He places the 12oz paper cup under the espresso dispenser and taps the screen to start a double shot. The machine begins to brew the coffee. As the espresso finishes, he takes the steamed milk pitcher. "Milk goes on top, just like in a latte." He carefully pours the micro-foamed milk into the cup with the espresso. He sets the pitcher down and picks up the cup to show the camera. "And you can see because this cup is twelve ounces, it doesn't quite reach the top, but in an eight-ounce cup, this would be perfect." He points to the fill level of the drink, which sits about an inch below the rim of the 12oz cup.

Automatic version. The trainer points to a small refrigerator next to the automatic coffee machine. He opens it to show a gallon of milk with a hose going inside. So you can see that the hose is attached down into the milk. He closes the fridge door. It's super simple. He points to the touch screen on the coffee machine which shows several drink options. Latte, Cappuccino, 12 oz, 16 oz, small and large. He places a small paper cup under the dispenser. So again we have small, we'll do a cappuccino this time. He presses the 12 oz cappuccino button on the screen. The machine starts dispensing milk and then coffee. While it's brewing, he turns to a tablet mounted on the wall. And then same as before, you clear the ticket. He taps the screen to clear the order. He turns back to the coffee machine as it finishes. He takes the cup, puts a black plastic lid on it, and attaches a label. He then slides the finished cappuccino onto the wooden counter next to another coffee cup. Cappuccino.