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# expressions

Hello, this is Mathias Möhl for mamoworld.com
and welcome to the third class of our After Effects expressions course. I named today’s
class “Expressions as a pocket calculator”, since this is the best way to think about
expressions when you want to get started writing your own expressions code. Let’s write some expressions to place those
dots here. The first thing I do is to right-click on the position and choose separate dimensions,
such that X and Y position are two independent properties. Because then we can apply an expression
to only the X or only the Y position, such that the expression only needs to describe
a single number. Expressions for 2D or 3D position values are slightly more complicated,
therefore we will cover them in a later class. Let’s place this dot here exactly in the
middle of the comp. As usual, we alt-click on the top watch to activate expressions for
this property. Since our comp is 1920 pixels wide, the middle is at 1920/2. As you can
see, you can simply enter this as an expression and the layer is placed accordingly.
Let’s place the second layer 300 pixels left of the center. So we simply enter 1920/2
– 300 to create the 300 pixels offset. You can also put parenthesis around the 1920/2
to make clear that the 300 is subtracted after the division is calculated, although this
is not necessary here, since multiplication and division are always calculated first and
then addition and subtraction. This third dot has a keyframed animation.
We can disable it temporarily by entering the most simple expression ever: a simple
number. Let’s enter 170 and as you can see, the layer is not animating anymore but stays
at this value although the keyframes are still present. By turning the expression on and
of using this equality symbol, we can toggle between the expression and the keyframe value.
Adding the expression also kind of locks the value. So when we move the layer in the viewer,
you can see it only moves left and right but not up and down anymore. Note that the keyframes
are still changed when moving the layer but the layer does not move up or down because
the y value is controlled by the expression and not by those keyframes.. In the next example, we want to place this
“plus” symbol here in the middle of the two other symbols. The left one has a x position
of 500, the right one of 1500. So the middle is (500+1500)/2 which is 1000. Now instead of hardcoding the numbers, we
can also use the pick-whip to link to the positions of the other layer dynamically.
So we select the “500” and then pick-whip to the 500 here on the position of the first
point. As you can see, the 500 has now been replaced by some code dynamically linking
to the position of point 1. The code looks a bit complicated, but is actually
not too hard to read. It says “from this comp, from layer “point 1” please use
in the transform section the property xPosition. Now we also select the 1500, and pick-whip
it to the position of the second point. To make it a bit more interesting and complicated,
for the second point I didn’t separate the dimensions. So it does not have an X Position
value to link to, but only a Position value including both X and Y.
If we try to pick-whip to this property, we get an error saying “expression result must
be of dimension 1 not 2” which means that we need to have a single number here but this
position is actually two numbers, namely x and y. To fix this, we first undo, then select
the 1500 again and this time don’t link it to the entire property, but drag the pick-whip
directly to only the x-value here. Now the generated expressions code looks a little
bit different. This zero in square brackets at the end says that we don’t want to use
the entire position value, but only the first component, namely the x component of it. One
thing you need to get used to is that programmers start counting with 0, so 0 is the x component
and 1 is the y component. But we will cover this in more detail in a later class. We can move the two points freely now and
due to the expression the plus symbol always stays in the center. Of course, currently
it only stays centered in x direction. If you need it in both directions, you could
of course apply an expression to the yPosition in the same way. So far we learned that expressions are like
little pocket calculator formulas with the super cool extra feature that you cannot just
use fixed numbers in the formulas, but also link to other properties with the pick-whip.
The code snippet you create with the pick-whip is called a variable. And in addition to the
variables you create with the pick-whip, there are lots of other predefined variables that
you can use. One of the most useful ones is called “value”.
Value gives you the keyframe value at the current time of the property that the expression
is applied to. This allows you do let the expression calculate something relative to
this keyframed value. Here, we’ve got this keyframed bouncing
ball, for example. If we enter on the yPosition the expression “value + 100”, you can
see that this offsets the motion path by 100 pixels, since at each frame it adds 100 to
the keyframed motion path value. If we enter “value * 2” you can see that
the bounces are now twice as high. maybe let’s combine this with an offset
of -80 such that it ends up again on the correct height. So with simple multiplication and
addition you can scale and offset a motion path. And all of this just with the help of
the value variable. Another example for a useful variable that
you cannot access with the pick-whip is “thisComp.width”. As you might expect it represents the width
of the composition. So if we enter “thisComp.width” as expression for the xPosition, the xPosition
becomes 1920 because this is the width of the comp. To center it, we can use thisComp.width/2.
Like all build-in expressions variables, this value updates dynamically. So if we cut and
paste the layer to a new composition of a different size, it updates automatically. Ok, so now you know the value variable and
the thisComp.width variable, and there are lots of other ones. But do you have to learn
all of the by heart? No, the great thing is that you find all of them in the expressions
language menu here at this icon that looks kind of like a play button. To use this menu,
you need to understand that variables have a hierarchical structure.
So in the “Global” section, for example, you find thisComp, but you don’t find “thisComp.width”.
But in the “Comp” section we find all properties that a composition has. Here you
also find “width”. The different parts of a variable name are always connected with
a dot, so you know that with “thisComp.width” you can access the width of the current composition.
If you want to know the width of any other composition, in the global section you can
see that you can also get comps by name. So with “comp” and then in parenthesis the
name of the composition, you can access any comp in your project. Actually, you can also
get such a comp with the pick-whip, by pick-whipping to a comp in the project panel. As you can
see that created exactly what we’ve just found in the expressions menu. “Comp”
and in parenthesis the name of the composition. Note that those names always must be put in
quotes. So to access the width of this other comp,
we now can add .width. Let’s do one more practical example. Let’s
say this text should always stay right of the dot, even if we replace the dot with a
bigger or smaller image. So we could say “please use as my x position my keyframed value plus
the width of the dot layer”. So as expression we type “value” to get the keyframed position
and then “+” and now we need to get the width of the dot layer. So we use the pick-whip
and drag it onto this layer which gives us “thisComp.layer(“dot”)”. Now we need
to find the width of the layer. So in the expressions menu we look in the layer category
what properties all layers have. In the “General” section you find “width” so we know that
with “.width” we can access the width of this layer”. Now the text jumped to the
right of the dot. If we replace the footage of the dot layer with this arrow here, as
you can see, the text moves to adjust to the new size. Summary!
Today you learned that expressions are like a pocket calculator. That you can enter formulas
and in those formulas you can access almost everything in your project using variables.
Those variables have a hierarchical structure, so you have, for example, variables for each
comp and each layer, and by connecting everything with dots you can dive into those variables
and access any properties like the width of the comp, or layer, for example. Finally,
the pick-whip is a tool to generate variables for properties quickly without the need to
type everything manually. And it cannot only be used to link to properties, but can also
link to layers, comps or other project items. Next time we look at a very practical example
and use everything you’ve learned today to let the wheels of a car rotate fully automatically. Again, this is Mathias Möhl for mamoworld.com
– see you next time.

Hello, this is Mathias Möhl for mamoworld.com
and welcome to the third class of our After Effects expressions course. I named today’s
class “Expressions as a pocket calculator”, since this is the best way to think about
expressions when you want to get started writing your own expressions code. Let’s write some expressions to place those
dots here. The first thing I do is to right-click on the position and choose separate dimensions,
such that X and Y position are two independent properties. Because then we can apply an expression
to only the X or only the Y position, such that the expression only needs to describe
a single number. Expressions for 2D or 3D position values are slightly more complicated,
therefore we will cover them in a later class. Let’s place this dot here exactly in the
middle of the comp. As usual, we alt-click on the top watch to activate expressions for
this property. Since our comp is 1920 pixels wide, the middle is at 1920/2. As you can
see, you can simply enter this as an expression and the layer is placed accordingly.
Let’s place the second layer 300 pixels left of the center. So we simply enter 1920/2
– 300 to create the 300 pixels offset. You can also put parenthesis around the 1920/2
to make clear that the 300 is subtracted after the division is calculated, although this
is not necessary here, since multiplication and division are always calculated first and
then addition and subtraction. This third dot has a keyframed animation.
We can disable it temporarily by entering the most simple expression ever: a simple
number. Let’s enter 170 and as you can see, the layer is not animating anymore but stays
at this value although the keyframes are still present. By turning the expression on and
of using this equality symbol, we can toggle between the expression and the keyframe value.
Adding the expression also kind of locks the value. So when we move the layer in the viewer,
you can see it only moves left and right but not up and down anymore. Note that the keyframes
are still changed when moving the layer but the layer does not move up or down because
the y value is controlled by the expression and not by those keyframes.. In the next example, we want to place this
“plus” symbol here in the middle of the two other symbols. The left one has a x position
of 500, the right one of 1500. So the middle is (500+1500)/2 which is 1000. Now instead of hardcoding the numbers, we
can also use the pick-whip to link to the positions of the other layer dynamically.
So we select the “500” and then pick-whip to the 500 here on the position of the first
point. As you can see, the 500 has now been replaced by some code dynamically linking
to the position of point 1. The code looks a bit complicated, but is actually
not too hard to read. It says “from this comp, from layer “point 1” please use
in the transform section the property xPosition. Now we also select the 1500, and pick-whip
it to the position of the second point. To make it a bit more interesting and complicated,
for the second point I didn’t separate the dimensions. So it does not have an X Position
value to link to, but only a Position value including both X and Y.
If we try to pick-whip to this property, we get an error saying “expression result must
be of dimension 1 not 2” which means that we need to have a single number here but this
position is actually two numbers, namely x and y. To fix this, we first undo, then select
the 1500 again and this time don’t link it to the entire property, but drag the pick-whip
directly to only the x-value here. Now the generated expressions code looks a little
bit different. This zero in square brackets at the end says that we don’t want to use
the entire position value, but only the first component, namely the x component of it. One
thing you need to get used to is that programmers start counting with 0, so 0 is the x component
and 1 is the y component. But we will cover this in more detail in a later class. We can move the two points freely now and
due to the expression the plus symbol always stays in the center. Of course, currently
it only stays centered in x direction. If you need it in both directions, you could
of course apply an expression to the yPosition in the same way. So far we learned that expressions are like
little pocket calculator formulas with the super cool extra feature that you cannot just
use fixed numbers in the formulas, but also link to other properties with the pick-whip.
The code snippet you create with the pick-whip is called a variable. And in addition to the
variables you create with the pick-whip, there are lots of other predefined variables that
you can use. One of the most useful ones is called “value”.
Value gives you the keyframe value at the current time of the property that the expression
is applied to. This allows you do let the expression calculate something relative to
this keyframed value. Here, we’ve got this keyframed bouncing
ball, for example. If we enter on the yPosition the expression “value + 100”, you can
see that this offsets the motion path by 100 pixels, since at each frame it adds 100 to
the keyframed motion path value. If we enter “value * 2” you can see that
the bounces are now twice as high. maybe let’s combine this with an offset
of -80 such that it ends up again on the correct height. So with simple multiplication and
addition you can scale and offset a motion path. And all of this just with the help of
the value variable. Another example for a useful variable that
you cannot access with the pick-whip is “thisComp.width”. As you might expect it represents the width
of the composition. So if we enter “thisComp.width” as expression for the xPosition, the xPosition
becomes 1920 because this is the width of the comp. To center it, we can use thisComp.width/2.
Like all build-in expressions variables, this value updates dynamically. So if we cut and
paste the layer to a new composition of a different size, it updates automatically. Ok, so now you know the value variable and
the thisComp.width variable, and there are lots of other ones. But do you have to learn
all of the by heart? No, the great thing is that you find all of them in the expressions
language menu here at this icon that looks kind of like a play button. To use this menu,
you need to understand that variables have a hierarchical structure.
So in the “Global” section, for example, you find thisComp, but you don’t find “thisComp.width”.
But in the “Comp” section we find all properties that a composition has. Here you
also find “width”. The different parts of a variable name are always connected with
a dot, so you know that with “thisComp.width” you can access the width of the current composition.
If you want to know the width of any other composition, in the global section you can
see that you can also get comps by name. So with “comp” and then in parenthesis the
name of the composition, you can access any comp in your project. Actually, you can also
get such a comp with the pick-whip, by pick-whipping to a comp in the project panel. As you can
see that created exactly what we’ve just found in the expressions menu. “Comp”
and in parenthesis the name of the composition. Note that those names always must be put in
quotes. So to access the width of this other comp,
we now can add .width. Let’s do one more practical example. Let’s
say this text should always stay right of the dot, even if we replace the dot with a
bigger or smaller image. So we could say “please use as my x position my keyframed value plus
the width of the dot layer”. So as expression we type “value” to get the keyframed position
and then “+” and now we need to get the width of the dot layer. So we use the pick-whip
and drag it onto this layer which gives us “thisComp.layer(“dot”)”. Now we need
to find the width of the layer. So in the expressions menu we look in the layer category
what properties all layers have. In the “General” section you find “width” so we know that
with “.width” we can access the width of this layer”. Now the text jumped to the
right of the dot. If we replace the footage of the dot layer with this arrow here, as
you can see, the text moves to adjust to the new size. Summary!
Today you learned that expressions are like a pocket calculator. That you can enter formulas
and in those formulas you can access almost everything in your project using variables.
Those variables have a hierarchical structure, so you have, for example, variables for each
comp and each layer, and by connecting everything with dots you can dive into those variables
and access any properties like the width of the comp, or layer, for example. Finally,
the pick-whip is a tool to generate variables for properties quickly without the need to
type everything manually. And it cannot only be used to link to properties, but can also
link to layers, comps or other project items. Next time we look at a very practical example
and use everything you’ve learned today to let the wheels of a car rotate fully automatically. Again, this is Mathias Möhl for mamoworld.com
– see you next time.

– WELCOME TO
AN INTRODUCTORY VIDEO ON USING THE TI-84
GRAPHING CALCULATOR. THE GOALS OF THIS VIDEO
ARE TO BE ABLE TO TURN THE GRAPHING CALCULATOR
ON AND OFF, AND WE’LL ALSO COVER
HOW TO ENTER VARIOUS EXPRESSIONS ON THE GRAPHING CALCULATOR
INCLUDING FRACTIONS, EXPONENTS, RADICALS, SCIENTIFIC NOTATION,
AND EVALUATING EXPRESSIONS. SO LET’S GO AHEAD
AND GET STARTED. THE FIRST THING WE NEED TO KNOW HOW TO DO IS TO TURN
THE CALCULATOR ON. IN THE LOWER LEFT-HAND CORNER
THERE IS AN ON BUTTON, SO IF WE PRESS ON
THE CALCULATOR WILL TURN ON. TO TURN IT OFF WE HAVE TO PRESS
2nd AND THEN ON AGAIN. YOU CAN SEE THE OFF
RIGHT ABOVE THE ON BUTTON. SO LET’S GO AHEAD
AND TURN IT BACK ON. NOW LET’S TAKE A LOOK
AT THE MODE SETTINGS. HERE IS THE MODE BUTTON. LET’S PRESS THIS. AND THE MAIN THING
I WANT TO TALK ABOUT HERE IS THIS SECOND ROW
WHERE IT HAS THE WORD FLOAT AND THEN THE NUMBERS 0
THROUGH 9. I RECOMMEND LEAVING IT ON FLOAT. IF YOU DO SET IT TO A FIXED
NUMBER OF DECIMAL PLACES, LET’S SAY THREE, AND IF I PRESS ENTER AND THEN GO
TO THE HOME SCREEN BY PRESSING 2nd MODE FOR QUIT, IF I PRESS 3 + 2
IT’LL LOOK STRANGE. IT’LL HAVE 5.000. IT WILL ALWAYS
HAVE THREE DECIMAL PLACES TO THE RIGHT
OF THE DECIMAL POINT IF YOU HAVE IT SET
AT THREE FIXED DECIMAL PLACES. SO IF YOU GO BACK TO MODE
AND LEAVE IT ON FLOAT, PRESS DOWN, ENTER,
AND THEN QUIT, 2nd MODE, NOW IF I PRESS 2 + 3 IT WON’T
HAVE EXTRA DECIMAL PLACES, AND IT WILL ONLY INCLUDE DECIMAL
PLACES WHEN NEEDED. SO FOR EXAMPLE IF I PRESS 3/2
IT WILL RETURN 1.5. IF WE GO BACK TO THE MODE
JUST FOR A MOMENT, THERE ARE LOT
OF OTHER SETTINGS HERE, BUT FOR RIGHT NOW WE’RE ONLY
GOING TO BE DEALING WITH EXPRESSIONS, SO THAT’S THE ONLY ROW
THAT I WILL COVER. IF I WANT TO CLEAR THIS HOME
SCREEN I PRESS CLEAR HERE, AND WE’LL POSITION THE CURSOR
IN THE TOP LEFT CORNER. SO NOW LET’S TALK ABOUT
HOW WE CAN PERFORM CALCULATIONS ON THE HOME SCREEN. WORKING WITH FRACTIONS
IS VERY EASY ON THIS GRAPHING CALCULATOR. NOW THERE IS NO SPECIAL
FRACTION KEY. REMEMBER THAT A FRACTION BAR
IS JUST A DIVISION SYMBOL, SO IF I WANT TO ENTER 1/2 I WOULD JUST TYPE
IN 1 DIVIDED BY 2. NOW, IF I HIT ENTER
IT WILL CONVERT THIS FRACTION TO A DECIMAL, BUT LET’S SAY I WANT TO FIND
THE SUM OF 1/2 AND 1/3. I LIKE TO ENTER THE FRACTION
IN A SET OF PARENTHESES, SO 1 DIVIDED BY 2,
CLOSE THE PARENTHESES. THERE IS THE 1/2 + OPEN
PARENTHESIS 1 DIVIDED BY 3 CLOSE PARENTHESIS. NOW, WHEN I PRESS ENTER HERE IT WILL GIVE ME A DECIMAL
APPROXIMATION OF THIS SUM WHICH ISN’T VERY HELPFUL, BUT WE CAN CONVERT
THIS DECIMAL BACK TO A FRACTION BY PRESSING MATH, AND NOTICE HOW THE FRACTION
OPTION IS ALREADY HIGHLIGHTED. PRESS ENTER AND THEN ENTER. AND THAT SUM IS 5/6. LET’S GO AHEAD AND TRY ANOTHER. LET’S SAY WE WANT TO PERFORM
2/5, 2 DIVIDED BY 5 x 7/8. 7 DIVIDED BY 8, CLOSE IT,
PRESS ENTER. THIS WILL GIVE ME A DECIMAL. TO CONVERT THIS DECIMAL
TO A FRACTION WE PRESS MATH, ENTER, ENTER,
AND THAT WOULD BE 7/20. NEXT, IF WE WANT TO TYPE
IN EXPONENTS, THIS LITTLE CARET OR HAT
IS THE EXPONENT KEY. SO IF I WANT TO RAISE 2
TO THE POWER OF 4 I WILL PRESS THE BASE 2,
THE EXPONENT KEY, THEN THE EXPONENT 4,
AND THAT WILL GIVE US 16. NOW, IF I WANT TO TYPE
IN A FRACTIONAL EXPONENT, I NEED TO MAKE SURE I INCLUDE
THAT FRACTIONAL EXPONENT IN A SET OF PARENTHESES. SO IF I WANT TO RAISE 8
TO THE POWER 1/3 WHICH IS THE SAME
AS THE CUBE ROOT OF 8, I MUST ENTER IT THIS WAY. NEXT, LET’S TAKE A LOOK
AT RADICALS. LET’S START BY TALKING
ABOUT THE SQUARE ROOT. THE SQUARE ROOT YOU CAN SEE
RIGHT ABOVE THE X SQUARED KEY, SO IF I PRESS 2ND X SQUARED IT
BRINGS UP THE SQUARE ROOT, THEN I TYPE IN THE RADICAND,
CLOSE THE SET OF PARENTHESES, PRESS ENTER, AND THAT WILL GIVE
US THE SQUARE ROOT. NOW, FOR THE CUBE ROOT
WE CAN PRESS MATH, AND YOU CAN SEE OPTION 4 IS
A CUBE ROOT WITH AN INDEX OF 3, SO IF WE PRESS 4, OR YOU CAN
SCROLL DOWN AND HIT ENTER, I’LL PRESS 4, IT BRINGS UP
THE CUBE ROOT COMMAND. AND IF WE TYPE IN OUR RADICAND,
PRESS ENTER, IT WILL EVALUATE THAT FOR US. NOW, ANY INDEX HIGHER THAN 3
WE HAVE A DIFFERENT PROCEDURE. FOR EXAMPLE, IF WE WANT TO FIND
THE FOURTH ROOT OF 81, THE FIRST STEP IS TO TYPE
IN THE INDEX 4, PRESS MATH, AND THEN YOU CAN SEE OPTION 5
HAS AN INDEX OF X. SO IF WE SELECT OPTION 5 THIS NOTATION IS THE FOURTH ROOT
OF 81. PRESS ENTER,
AND IT EVALUATES IT. NOW LET’S GO AHEAD AND TALK
ABOUT SCIENTIFIC NOTATION. IF WE WANT TO TYPE IN 5 x 10
TO THE NEGATIVE THIRD POWER, WE PRESS 5. HERE WE SEE TWO CAPITAL E’S. THIS IS THE COMMAND
FOR SCIENTIFIC NOTATION, SO IF WE PRESS 2nd, AND NOW WE JUST TYPE
IN THE EXPONENT ON BASE 10, AND I BELIEVE I SAID 5 x 10
TO THE NEGATIVE THIRD POWER, SO I’LL TYPE IN -3. SO AGAIN, THIS MEANS 5 x 10
TO THE NEGATIVE THIRD POWER. IF I PRESS ENTER, IT WILL CONVERT IT TO A DECIMAL. I CAN ALSO MULTIPLY 2 NUMBERS
TOGETHER IN SCIENTIFIC NOTATION, SO TO ENTER 2.3 x 10 TO THE
POWER OF 4 I’LL PRESS 2nd, AND THEN JUST THE 4, CLOSE THE PARENTHESES x OPEN
PARENTHESIS 6.2, 2nd, LET’S SEE,
I’M GOING TO TYPE IN x 10 TO THE NEGATIVE 2 POWER. JUST TYPE IN THE -2, CLOSE, ENTER, NOW DEPENDING
ON THE RESULT IT MAY OR MAY NOT GIVE THE ANSWER
IN SCIENTIFIC NOTATION, SO IF YOU WANT THIS ANSWER
IN SCIENTIFIC NOTATION, YOU WOULD HAVE TO CONVERT
IT YOURSELF. LET’S TALK ABOUT HOW YOU CAN
STORE VALUES FOR VARIABLES. SO LET’S SAY, FOR EXAMPLE, I WANT TO STORE 5
FOR THE VARIABLE A. I PRESS 5. HERE’S THE STORE KEY, AND NOW I HAVE TO FIND
THE LETTER A. YOU CAN SEE THE LETTER A
IN GREEN HERE, SO I HAVE TO PRESS ALPHA,
MATH, ENTER. NOW 5 IS STORED FOR A. LET’S STORE -3 IN FOR B,
SO WE PRESS -3, STORE, AND THEN WE HAVE TO FIND
THE VARIABLE B WHICH IS HERE. SO WE PRESS ALPHA, APPS, ENTER,
AND LET’S STORE -2 IN FOR C. -2, STORE, C IS HERE,
SO ALPHA, PROGRAM, ENTER. NOW IF WE WANT TO EVALUATE
AN EXPRESSION INVOLVING THESE VARIABLES, WE CAN JUST TYPE
IN THE EXPRESSION. SO FOR EXAMPLE IF WE WANTED
TO EVALUATE B SQUARED – 4AC WHICH HAPPENS
TO BE THE DISCRIMINANT IN THE QUADRATIC FORMULA, WE CAN JUST TYPE IN B
WHICH IS ALPHA APPS SQUARED. WE CAN HIT THIS CARET
AND THEN 2, OR THERE IS A SQUARED KEY
HERE – 4AC. A IS ALPHA, MATH,
AND C IS ALPHA, PROGRAM. PRESS ENTER, AND OUR
DISCRIMINANT WOULD BE 49. FOR THIS EXPRESSION,
B SQUARED – 4AC IS EQUAL TO 49. THIS IS A NICE WAY
TO CHECK YOUR WORK WHEN YOU’RE EVALUATING
EXPRESSIONS. I HOPE YOU FOUND THIS
INTRODUCTORY VIDEO HELPFUL. THANK YOU FOR WATCHING.

Hi. I’m Rebecca from engVid. In this lesson I’m going to show you three
simple ways that you can ask a polite question in English. Okay? Now, usually when we’re asking a question,
it’s we’re asking if we can do something or we’re asking permission, or we’re asking someone
else to do something for us, in which case we are requesting that they do something. All right? And there are three key words that you can
use for this purpose, but in different ways. So, let’s look at what they are. All right. So, those three words are: “can”, “could”, and “may”. Now, of course, you’ve heard those words before
and I’m sure you use them as well, but let’s be really sure when to use which one. So, it’s very easy. We use “can” in more informal situations. All right? What do I mean by “informal”? For example, with your family or friends. All right? We use “could” in more semi-formal situations. “Semi-formal” means a little bit formal. For example, with your colleagues, people
you work with. Right? With your hairdresser perhaps,
with a salesperson in a store. All right? There we could use “could” so we kind of know
that person or we don’t know that person too well, but it’s not a very formal situation. And the last is in formal situations when
we use “may”. So, what’s a “formal situation”? Well, for example, if you’re talking to a
client, or a customer, or you’re at an interview, then you want to be on your best behaviour,
use your best manners, be very polite, be very formal and proper, and that’s when we use “may”. Now, there is a little difference in terms
of the grammar of how we use these three words. So, with “can” and “could”, we can use those
two with all of the pronouns. So, we can say: “can I”, “can you”, “can we”,
“could they”, “could he”, “could she”, “could it”. All right? Can use those with all of the pronouns. But when we come to “may”, we can only use it with “I” or “we”. All right? “May I do this?” or “May we” – you can’t really
ask permission for somebody else so much, so this is… These are the two ways we use “May”. All right? Sometimes you might hear it with one or two
other pronouns, but really, these are the most common. All right? So that’s what you want to be able to use
so you can always be 100% right. Now, let’s look at the same question and how
it’s different with the three words. All right? So, let’s say I’m at home and I ask someone
from my family: “Can I have some orange juice?” All right? So, there I’m using “can” because it’s really
informal. Now let’s say I’m at the mall, I’m at the
food court and I’m ordering some juice, so I say: “Could I have some orange juice?” All right? Slightly more formal. And now let’s pretend that we’re in a fancy
restaurant and I’m ordering orange juice, so then I say: “May I have some orange juice?” Okay? Now, you could add the word “please” also,
but with some of these it’s already very polite, so you don’t have to go overboard, you don’t
have to do too much, you don’t have to always say “please”, especially when you’re asking for yourself. Okay? If you’re requesting something that someone
else do, then often we do add the “please” as well. Okay? Now, what are some of the responses? We’re not really focusing on the responses
in this lesson, but let me just tell you what would be the appropriate responses-positive
responses and negative responses-to these questions. So, if someone said: “Can I have some orange
juice?”-informal-the answer might be: “Sure, here you go.” Or: -“Could I have some orange juice?” -“Yes, of course.” -“May I have some orange juice?” -“Certainly.” Okay? So you see that the formality of the question
matches the formality of the answer. If it was negative: -“Can I…?” -“Sorry, we’re all out.” -“Could I…?” -“I’m sorry, we’re all out.” -“May I…?” -“I’m afraid we’re all out.” Okay? Same basic information, but
represented quite differently. So now let’s look at some more examples. All right. So, informally, we could say: “Can I help
you wash the dishes?” That would be a really nice thing to say to
someone. Okay. All right. Or: “Can you clear the table, please?” Now, you see here because I’m requesting something
of someone else, it’s perfectly nice and fine to say “please” at the end. Okay? “Can you clear the table, please?” What does that mean: “Clear the table”? After you finish eating, you know there are
a lot of dishes on the table, and when you take those dishes to the kitchen or wherever,
and you clear the table. That’s called “clearing the table”. All right? Next, in a semi-formal situation where we’re using “Could”, we could say: “Could I get your email address?” Or: “Could you send me the report, please?” All right? That’s, again, some business examples. Very common questions that we need to ask people. All right? And here, the more formal situation: “May
I help you?” This is probably the most common question
that is used in customer-oriented situations. Every time you walk into a store, especially
a fancy store: “May I help you?”, “May I help you?” Or on the phone, if you have a customer service job. Okay? And then it’s sometimes a little bit more
specific: “May I help you carry your bags, ma’am?” Let’s say in a hotel. All right? So, anytime you’re trying to be really polite
to that other person, you want to use “May”. This was… These were my examples. Now let’s see how you do. All right, so now you need to decide whether
to use: “Can I”, ” Could I”, or “May I” in these situations. All right? So, you’re talking to your professor. What do you say? “_______ submit my paper on Monday?” “Can I”, “Could I”, “May I”. Well, this is something where you are going
to have to decide. Perhaps you’ll say: “Could I submit my paper
on Monday?” or, depending on your relationship with your professor, depending on the personality
of the professor, depending on the personality of the university or the country that you
live in, you might need to use some more formal version. “May I submit my paper on Monday?” I would probably say, in that situation: “May I”
because I really want to be able to submit my paper late, which is probably
what we’re asking here. All right? So, sometimes even if your relationship with
someone is semi-formal, you might still want to act a little more formal because of your
specific request. All right? Okay. Now, here you’re talking to a friend, so what
do you say? “_______ open the window?” So, here, it’s pretty straightforward: “Can
I open the window?” All right. You’re talking to a hotel guest:
“_______ help you get a taxi?” So, again, here you want to be very formal. “May I help you get a taxi?” Good. You’re talking to a salesperson in the store:
“_______ speak to the manager?” What are you going to say? This is one of those semi-formal situations. All right? So, you probably say: “Could I speak to the
manager?” All right? Good. Hope you got those. Now let’s move here to:
“Can you” or “Could you”, all right? So, you’re talking to a child, your child,
probably, so what do you say? “_______ clean your room?” So, probably most parents would say: “Can
you clean your room?” You can always be polite to your children
because you’re also trying to teach them, so you could always say: “Could you clean
your room, please?” because that way you are modelling how they should speak, so that’s
fine. But on an everyday basis, lots of people would
probably say: “Can you clean your room?” Okay? Or at least add the “please”. Next, let’s say you’re speaking to an audience
and you want them to switch off their cell phones. Right? So:
“_______ switch off your cell phones?” So, here, you would say: “Could you”. Okay? It’s more formal. “Could you switch off your cell phones, please?” All right? There would be a good place to put the “please”
in. All right. You’re talking to your brother:
“_______ call me later?” So, what would you say? “Can you”, right? Informal relationship, you know him: “Can
you call me later? I’m busy right now.” Next, you’re asking a receptionist:
“_______ connect me to the sales department, please?” So, what would you say? Again, you want to be a little bit more polite. “Could you connect me to the sales department,
please?” All right? Now, that was really good. Hope you got all of those right. If you want to really master these three words:
“Can I”, “Could I”, and “May I”, then please go to our website at www.engvid.com, and there
you can do a quiz on this and really master it so that you know it once and for all, and
that’s it; you don’t have to keep going round and round – you’ve got it. All right? And also subscribe to my YouTube channel for
lots of other delightful lessons that will help you improve your English much faster. Thanks very much for watching. Bye for now.

Hi. I’m Rebecca from engVid. In the next few minutes you will find out
terminology that we use when we describe an email address. All right? So, in this lesson you’ll find out if you’re
doing that properly. Now, unfortunately, lots and lots of people
around the world are not doing this properly because they’re following the conventions
in their country. Okay? And sometimes they’re borrowing words from
other languages, and so on, to give that. So, after this lesson, you will know exactly
some of the terminology that we use when we’re talking about email. All right? So, let’s get started. So, first of all, this word “email” is a new
word. Right? So there’s still a bit of disagreement around
the world, even in the English-speaking world, about exactly how to use some of the detailed
aspects of it. For example: Do we write “email” just like
that? “Email” or do we write “e-mail”? Okay? There are all kinds of little arguments about
how to do that, but let me tell you in general some of the things that most people are following
so you will always be correct. So, first of all, email is used… The word “email” is used as a noun, a verb,
and an adjective in English, generally speaking. Okay? Maybe some companies have a different policy,
but I’m going to tell you generally what most people are doing today and how it’s being
used. So, for example, as a noun, we could say:
“I sent you an email.” All right? That’s a noun. Or as a verb: “I’ll email you.” Now, some more formal companies frown upon
that; they don’t like using “email” as a verb. But again, most people when they’re just speaking
are using it that way. Next, as an adjective: “He has two email addresses.” All right? So, here, “email” is being used as an adjective,
so it can be used all three ways. All right? Next, we can use… Another controversial subject. We can use “email” in a singular format or
plural. All right? And there are a lot of arguments about how
exactly we can do that; but again, I’m going to tell you what most people are doing today. “This email is from Fred.” Okay? One email. Now, some people say that we shouldn’t say
that and you should say: “This email message is from Fred.” So, again, check if your company has any special
rules regarding email communication and email terminology. Okay? They might, and in that case, of course, follow
that so that you keep your job. All right? But otherwise, in general, follow what I am
telling you and you will be fine. Next, plural: “These emails just arrived.” Okay? So, again, this idea of putting the “s” is
also something that people are arguing about, but most of the time people are saying “emails”
when they’re talking about more than one email message. Okay? All right. Now, something else that you need to be able
to do… excuse me one second. All right. Is when you give your email address to someone,
you have an unusual name to someone who is a native-English speaker. All right? So, you have to be able to spell it in a very
clear way. Let’s suppose you’re on a phone line and the
phone line is really bad; people can’t hear you very well. And even if they can hear you, they just don’t
recognize that name-okay?-or that word that you’re saying, so you need to reference it
in some way so that people don’t make mistakes. Now, there is one way that you can use and
you can learn, if you wish, it’s called the NATO Phonetic Alphabet. Okay? That is a system that is in place-it’s used
all over the world by many organizations-and it’s a system that gives a code. All right? So, for example: A is Alpha, B – Bravo, C
– Charlie, D – Delta. Okay? So, sometimes… Also airlines use this and so on, armies use
this, aviation… In the aviation world they use this system
so that way… They have to be very precise, right? So they can be very sure that they’re not
just saying “B” because maybe when you said “B”, I heard “P”. No. That can’t happen if you’re actually giving
a word for each letter. Right? And that’s what the NATO Phonetic Alphabet
does – it gives a word instead of the letter to explain it very clearly. So, for example, if I want to spell “cab”
using the NATO alphabet, I would say: “Charlie Alpha Bravo”. Okay? Or you can say: “C for Charlie, A for Alpha,
B for Bravo”. Okay? Now, if you don’t feel like learning that
system, which you don’t have to, unless you have a certain kind of job or something like
that, just come up with a simple system for your name of how to spell your name. You could just say to somebody: “A for apple,
b for boy, c for cat, d for dog”. Okay? You come up with your own system, but come
up with a system to spell your name. All right? Okay. Now, how do we ask people for their email? How do we give them our email? Usually it’s pretty simple. If it’s in a casual conversation you could
just say: “What’s your email address?” Okay? Or: “What’s your email?” Sometimes they don’t even say “address”. When we say: “email”, they understand it means
email address. Okay? Or more formally: “Could you please give me
to learn now, but you start that sentence by saying: “My email is”, whatever you’re
going to tell them, or: “My email address is”, whatever I’m going to teach you next,
which is so critical. Keep watching. All right. Now let’s learn how to say your email address
in English. Okay? Now, of course, when you’re speaking your
language, you’re going to have your own vocabulary and terminology that is understood, and used,
and accepted in your country or in your language. But when you’re speaking English, we have
certain terminology for the symbols that we use in an email address, so let’s look at
what they are. All right. So, these are the most common symbols that
you need to be able to say and learn in English. This symbol here (@), you should say: “at”. Just “at”. Okay? So, this symbol is “at”. Repeat it after me: “at”, like the word “hat”. When you’re saying it, open your mouth a little
bit wide so it doesn’t sound like “it”, but “at”. This is not called in English “at the rate
of”, it’s not called “strudel”, it’s not called “monkey’s tail”, or anything else, which might
be used in other countries, but is really not the proper convention or standard in English. All right? So when you see this, say: “at”. When you see this (.), which is also a part
of an email address, in this case we just say: “dot”. Okay? Normally, of course, in other situations you
could use the word “period”, you could use the word “full stop”, or you could say “point”
when we’re talking about numbers, but now we’re talking about email addresses, so we’re
just going to say: “dot”. All right? So, first, let’s just practice using these
two symbols when we say an email address. So: “johndoe at gmail dot com”. Say it after me: “[email protected]”. Who’s John Doe? Okay. John Doe is just a generic name that we give
for any man. All right? And that’s just used; it’s used in hospitals,
it’s used by police, or: “We’re looking for a John Doe. We don’t know who that person is.” It’s a generic name for a man. Similarly, a generic name for a woman is Jane
Doe. All right? So, let’s now practice saying this email address. This would be jane dot doe at yahoo.com. Again: [email protected] Good. Now, sometimes people put other symbols into
their email address. If you’ve already done it, then let’s learn
how to say it. If you haven’t done it, then try to avoid
that because it just makes it a little bit more complicated. But if you have these symbols, this is what
you need to say. Sometimes there is a line at the bottom, okay? And that is actually called something; it’s
called “underscore”. All right? “Underscore”. When people don’t know what that line at the
bottom is called, they say: “You know, that line at the bottom.” Okay? But that line at the bottom is called “underscore”. And sometimes they have a little hyphen. When they don’t know what that’s called, they
say: “You know, that little dash in the middle.” Okay? So, the proper word for that in English and
in an email address is “hyphen”. Repeat it after me: “hyphen”. This one: “underscore”. Good. This one: “dot”; this one: “at”. Good. Now let’s practice saying some more email
addresses. Okay? John underscore doe at hotmail dot com. Good. Let’s say this one: jane hyphen doe at gmail
dot com. Good. Now you’re getting it. All right. Now, sometimes instead of “dot com”, you see
other endings. Okay? Other domain endings. For example: “dot net” for network, “dot org”
for organization, “dot biz” for business, and “dot edu” for education. There are also many others. All right? So let’s practice saying something like that. Courses at abcschool dot… What do you think it would be most likely
for a school? It could be “dot com”. It could also be, what? Okay? It could be “dot edu”. All right? Very good. And here: doug at fancyhotel dot… Again, could be “dot com” or “dot biz”. Okay? All right. Now, sometimes in addition, you see country
endings. Okay? For example: “dot ca”, dot us”. “dot ca” is for Canada, “dot us” is for the
United States, “dot uk” for United Kingdom, “dot br” for Brazil, for example, “dot sa”
for Saudi Arabia, “dot ru” for Russia, and each country has a country code similar to
this. Okay? And they’re usually two letters. All right. So, let’s now practice everything we’ve learned
by saying a few more email addresses. Okay? Are you with me? Good. All right. Here’s this guy, he’s really cool. His name is cooljack at xyz dot ca. Okay? Remember? That’s a country code; Canada. Here’s another example: info at nicerestaurant
dot com. Okay? Or: contact at nonprofit dot org. Or, this is the way… Okay. So, now, this part, this is how you should
for professional purposes as well. Okay? You don’t want to really to apply for a job
with a email address that says: “cooljack” or “wonderwoman”, or something like that. Okay? If you want to be silly, you can have a personal
email address like that; that’s fine. But normally the standard format that’s often
used in companies, and that’s accepted, and that looks professional is to write your first
name and your last name, sometimes connected with a dot, if necessary. Okay? So: first dot last at gmail-or whatever domain
you have-dot com. All right? So, this has been a complete review of how
you should say you email address in English so you can sound professional and also so
that other English speakers can understand exactly what you’re saying, whether you’re
telling a friend, a colleague, or a client. Okay? So, thanks very much for watching. Please go to our website at www.engvid.com
so you can do a quiz on this, and really master it so you’re very comfortable saying these
things and making sure that you are correct when you communicate this information. Okay? And also I’d be really happy if you subscribed
to my YouTube channel and check out some of my other videos there. Bye for now. All the best with your English.

(drill engine revs) (drum roll) (laughing) – We have good plans for today. We’re gonna eat breakfast,
get ready for the day, and we’re going to build something awesome and you guys can come with us. Oh my phone, thank you! Jenny’s still hanging out
with my sisters and mom doing like their girls’ day thingy, so it’s just you guys and me, and Adley. Get the vlog camera let’s go! Hey! Ooh! We’re ready. I put Adley in her bean baby outfit. (screeching) I don’t care if she wore it two days ago she looks cute so I put her in it again. And I’m wearing my baby Adley outfit! We’re going to be hanging out all day so we should be twinners, right? (laughing) First stop we’re going to the store. We gotta get some supplies. (baby cooing) (“Obtuse Angle” by RiFF RAFF) Jenny always uses this
thing when we go shopping she puts Adley in it but I
don’t know how to really use it. Okay, let’s go. Yeah, we’re at a toy store. Wow! Ooh! (baby cooing) Wow! Wow, wow! Do you want a dinosaur? Here. Octopus! What about this? Get you a piano? I think that’s a good idea. You’ll like it. So what we’re doing is,
you know the three rooms in the back of the new space station 1.5? One of those rooms we’ve decided
is going to be Adley’s room so every time she comes to
visit while we’re working, or if we need to get her
distracted or get stuff done, she can walk into that room
and play with all these toys. And that piano I just got, look, we can put that on the ground in the room and she can just walk on it and make noise and it will keep super distracted. Grandma and Grandpa have one
of these, and Adley loves it. It’s a popper, should we get that? Ooh! Another octopus! Told you she liked octopusses. Octopi? Octo… multiple octopus. Adley, should we get you a chair? These are kinda cute, do
you want an elephant chair? (buzzer) Do you want an owl chair? (buzzer) Do you want a fox chair? (buzzer) Don’t really know what Adley wants here. Do you want a Darth Vader chair? Ooh, do you want a Darth Vader chair? (buzzer) No? I was really hoping she
would pick this one. Ooh, should we do a princess chair? (chiming) Okay, she seemed excited
about the purple chair, let’s see if she likes it. Oh, you wanted to play with your toy? Is that so fun? Look what she wanted, it’s an octopus! Trains, “Be brave, be strong.” This one? (buzzer) Too bad, I already picked it! Oh my gosh, this is on sale. It’s a giant, giant, giant caterpillar. Do you like it? (multiple buzzers) Okay, Adley does not
like giant caterpillars. She keeps saying ball. We need to find her a
big ball or some balls, or those ball pit balls. Adley I think I found some balls, look. There’s princess ones,
some Minnie Mouse ones. Look, a ball! Ball? Finally found a toy she’s
excited about, a ball. Ahh, okay. Ball, yep. And we got our other stuff for the new Adley’s playstation 1.5. Yeah, probably good. Eww, don’t eat your toes! That’s gross! You’re funny. How does she even do that? If you can put your foot in
the only human I know that can do that. You’re gross. Yeah, you’re gross. You’re gross. Adley we’re home. We gotta do a quick pit stop at home because Adley needs a nap, huh? You wanna take a nap? Yeah. Jenny got home from her girl’s
night while Adley was alseep. So they’re at home chilling,
we’re going to build the Adley’s space station. Alright chicken, here’s the cutest part, are you ready? – [Chicken] Aww. – And when she comes to
visit us she’ll be so excited and will be able to play with her toys. And she’s play with this stuff instead of playing with this stuff. – Yeah, that’s important – Alright. I’m gonna try to put you guys up here so then you can look
down and watch Adley’s little space station get built. Okay. Try not to fall. (fast paced, high energy techno music) Alright, Merry Christmas Adley! I’m not buying you anything for Christmas because I just built you a space station. So yeah, we don’t normally
buy her this many toys, but it’s her Christmas I guess. Come test Adley’s space station. Pretend you’re Adley, like walk in, you kinda look like Adley
with that stupid hoodie on. – Hey, this is a cool hoodie. – [Dad] Okay Adley, go
look at your space station. – Ooh, ooh, ooh – [Dad] Ooh yeah, ball, yeah! Yeah, wait, notice your chair. Ooh wow! – I’m gonna break that. (laughing) – [Dad] Ooh look a piano, I wonder what happens
when you stand on it. Nothing I haven’t bought batteries. – You didn’t set it up. – I didn’t buy batteries yet. Ooh, I’ll go get Adley and Jenny later and I’ll bring them in. Jenny doesn’t even know I
did this, she’s gonna be like “Babe, why’d you buy her so many toys.” Oh look at this, sunset. I don’t know why I like
it so much but it’s like it’s cool because it’s in
between all the cables. I’m pretty sure I just saw Adley and Jenny while I was driving by, someone was pushing one of
those pink cars that Adley has, so they might be able to walk
over to the space station, I don’t know. What! Um, hello there! – Hi! – [Dad] What are you doing? – We’re walking to your work. – [Dad] It’s kinda late. – It wasn’t when they started. It took us 25 minutes – [Dad] Oh hi girls. 25 minutes? I think she wants to go in. – Let’s go in! – [Dad] It’s like she knows
there might be a surprise in there for her. Wait, don’t go crazy. See, the problem is babe, I don’t want her running around touching our computer cables and stuff. Where’s the baby suppose
to go in a space station? – Where is she suppose to go? – [Dad] Come here, come on! – Can you go in here? – [Dad] Check that out! Go over there! Wow! – Oh my gosh! You got her a chair? That’s so cute! – [Dad] Ball? Oh, what’s that? – This place is funner than our house. – Exactly. Oh! – Oh boy, I bet that makes noise. (toy rattling) – Ball? Ooh, a ball! Ball! That was the most excited she got the whole time we were shopping, when she saw that she freaked out. Let’s see if I can make a basket, ready? Watch, miss. Hey! Oh, balls! Balls, balls, balls! We hooked up the VR, it’s a huge space. I got some of my friends over here. We’re gonna be playing some VR tonight. Jake’s first time on a one wheel. Yep, good approach. Whoa, whoa, easy, easy! (laughing) The psychology of the car
being right there got to you. – [Jake] You gotta watch the car. – Ooh look at this sound system. (upbeat music) – [Chicken] You’re not even close dude, this room is huge. – [Dad] Alright, best of luck. – Achievements. (all laughing) (eerie music) (drill whirring) (all laughing) – [Chicken] Wait for it. (all cheering) – [Dad] Oh dude, that
sledge hammer though. – [Audio Clip] It’s a sledge hammer (fast paced, high energy techno music) (energetic, bouncy piano music) – Because Adley needs a nap. (horror movie high pitched screeching)

– Eight, nine, 10. – [Dad] Whoa, my boot fell off. Maybe it was my arm? – [Adley] It’s a arm! – [Dad] Oh no. We’ll fix it don’t worry. – Dad the Poppy song. – [Dad] The Poppy song? – Uh uh. – We should do jumpsuit because
you have your jumpsuit on. – Yeah. – [Dad] Should we do that? – It’s under my jacket. – Adley was asking me, how
we’re gonna start the vlog, ’cause I just got in the car, ’cause we’re going to tumbling. ‘Cause she said, dad are we vlogging? I said, I’m not vlogging today. And she said, please
can we vlog gymnastic? So, now we’re vlogging,
and welcome to another– – Best day ever! – [Dad] Okay here we go. Are you ready for this mom? (upbeat music) Are you ready for tumbling? – Yeah. – I’m ready to watch you tumble! Let’s go! Adley likes to listen to
Jumpsuit by Twenty One Pilots ’cause her tumbling suit, why does she call it a jumpsuit? Are those called a jumpsuit? – No, I think they’re
called like a leotard. – Why does she call hers a jumpsuit? – [Mom] I have no idea. – So she is like, I
want the jumpsuit song, because I got my jumpsuit
on and I’m about to tumble. – I wonder what I’m gonna learn. – [Dad] What do you
think your gonna learn? – I don’t know. – [Dad] You’re getting really good at all your stuff, huh? – Yeah, I’m gonna jump in the snow. – [Dad] Hey! Gotta stretch your legs
and get ready for tumbling. Big steps. Whoa. Good job. Yeah, yeah. Go go go go go. – [Mom] Hurry, hurry, hurry. Lift your feet. – [Dad] Alright, you’re ready. Go for it, go for it, go for it. – [Mom] Hey watch your steps. – She’s so cute, I love it. (upbeat music) – Over, all the way over. Awesome! (upbeat music) – She swung on the rope,
she was nervous about that ’cause she didn’t want to
fall on the foam blocks. (child screaming) I can’t tell if this like is
a real drill they’re doing, or if they’re just being weird. – Guys look how tired Niko is. Do those kisses make you sleepy? – He’s so tired. Oh I love him so much, he’s so cuddly. – Niko’s teething and not napping, huh? – Look at his teeth
guys, can you see them? – I think we should get some of these mats for the house, so we can practice. – I thought we have one. – No, we just have a flat one. – Oh the angled one. – [Mom] Yeah. – Let’s get tumbling mats. – It will be fun.
– That’s fun. I like tumbling. I wanted to do tumbling when
I was a kid, but I never did. – Me too.
– Wanted to be better at flips for snowboarding, and stuff. – [Mom] Yeah. – [Dad] Did you get a treat? – Yeah. – [Dad] Hey, you did awesome!
– Yeah. – [Dad] Adley, how are
you so good at tumbling? Have you been practicing at home? – Yeah. – [Dad] What are we gonna do tonight? – I got fun question. – [Dad] A question? What’s your question? – I want to play with barbies. – [Dad] Play with barbies? – [Mom] That’s not a question. – That’s a fun idea, but Adley, you said you
wanted to vlog tonight. What should we do for the vlog? Do you guys got any ideas? Leave some comments of fun things we should do for the vlogs. – [Dad] Adley, what do
you think we should do? – I got another fun thing to do. – [Dad] What? – Let’s make pancakes. – [Dad] Pancakes? That would be fun. – Yeah. – We’ll keep thinking
of what the fun thing is to do tonight. We still have a couple
hours before bedtime. So fun incoming. You have any ideas? – I’ve got a good question. – [Dad] What? – Let’s play barbies. – [Dad] Stop, we’ve been going around this roundabout forever. One more lap, babe, right
when I started filming. That was like our third
lap around the roundabout. Adley was loving it. – This is when I see Elsa and Anna. – [Dad] I know, aren’t you so excited. This is our first time watching
the vlog, are you ready? – Uh huh. – [Dad] Get a bite first. – Pause it. – [Dad] Okay, pause it. Oh my gosh, we put on your gloves? So you didn’t freeze
things like Elsa, remember? How excited were you to see this vlog? – So excited. – [Dad] So excited, who made it? – Nick. – [Dad] Yeah, do you
think he did a good job? – Mm-hmm. – [Dad] Okay, let’s watch. Oh, you’re so cute. – I tooted. – Alright, you got, you tooted? Ew. Alright, you guys can
watch us watching the vlog. You guys are watching the vlog, watching us, watching another vlog. If only this vlog could watch you somehow. – Don’t you put that evil on me. – Heard the boys. – The boys came, yeah. – Boys. – Hi boys. – That’s too loud,
mommy, we gotta be quiet. – Yeah mom’s feeding
Niko, we gotta be quiet. Good call. – The tractor. – Yeah. – We played hide and seek. – Did Elsa make it, do you remember? – Yeah, she did. – That was so fun. Aw, you gonna give her a hugs? You’re so lucky. – We were all like warm hugs! (beep) – Hey, we found Holiday. Aw, remember when the lights came on? Nick, I like the princess
music, that was (pop), it made that moment special. It’s ov– (beep) – It’s over, its over guys! – It’s over guys, we tried
ready to watch this vlog, and then the other half just kicked in, and we went to barbie mode. Do you want to do barbies? – Yeah lets play barbies guys, let’s go! – Alright, hey, one more big bite. Good job. Barbie time, you guys are just
hanging out with us tonight. Normally its like a daily vlog. This is like an evening vlog, you get to know what I do
like, right after work, until bedtime. This is our family night routine. Adley makes all of the routine videos, we’ll do our first vlog routine. Mom and Niko are in there. We gotta be quiet because
Niko’s trying to sleep. – Maybe we try to shut the
door so we can be loud. – [Dad] Yeah, we can
shut the door to be loud. That’s a fun idea. Oh I still have my shoes
on, I gotta take those off. – You can’t kick me with your shoes on. (Shaun laughing) – [Dad] I can’t ever kick you. Hey will you help me take my shoes off, I’m holding the vlog. – Yeah, let me film. – [Dad] Oh you’re going to film? I was just trying to trick
you into taking my shoes off, but okay. Are you doing a good job filming? – [Adley] Yeah, look it. How I’m holding it. – [Dad] You’re holding it so good. – [Adley] I’m big and strong! – [Dad] Good job, alright should we– – These are Niko’s toys dad. – Yeah, the vlog helped us get that. Yo I read through the comments, so many people watched that
video like six times and stuff. I wonder how many views it has now. Brandon, pop up that video,
I bet it has lots of views. That’s all because you guys. Thank you. You bought Niko his first
little toy room area. And then the letter things, they didn’t even stay in Niko’s toy room because we’ve been using them everywhere. This vlog’s really dirty. Alright, I want to play some barbies. – Yeah. Barbie. – Pretty, who do you want me to me? – The daddy. – [Dad] Got it, yo what’s up, I am the daddy around these parts, if y’all need daddy, know who to ask. That’s me, hi, nice to meet ya. Hi what’s your name? – Arial. – [Dad] Hi Arial, I’m your daddy. Hello, hello. – There’s a tail.
– What? – There’s a tail too. – [Dad] Who’s gonna where
the tail, you or me? – Arial. – [Dad] Your a beautiful mermaid. Oh now your just a human. – It I broke, I can’t wear
it now, can you fix it dad? – [Dad] Who do you think
I am, tall chicken? – No. – [Dad] Tall chicken just
always fixes my computer. – Lets set it over here. – [Dad] Good idea. Oh hey, what’s up? Look at my dance moves. (upbeat music) – Watch my dance moves. (gentle music) – [Dad] Oh yeah, yeah so you
want to dance party with me? – Yeah. – [Dad] Okay, lets do it. – Let me go turn the colorful lights on. – [Dad] Oh yeah, colorful
lights are on, oh yeah Oh yeah, I’m dancing. Oh wait, is this a slow song. Hey, do you want to dance with me? – No its a fast song. – [Dad] Okay. (Shaun laughing) I love you so much. Lets just keep that
personality forever, okay? Alright, well what do you want to do now? – Its time for bed. – [Dad] Of course it
is, oh my gosh let’s go. Whoa, how did you jump up there? Wow your crazy, I gotta
take this elevator. Made it. What’s up, goodnight. – [Adley] Hey there’s a spot for him too. Morning time. – [Dad] Morning time, coming on down. – [Adley] You knocked the light down. – [Dad] Oh sorry about that. I hope you got the warranty. – Do you know how to jump down? – [Dad] No will you teach me? – You stand right here, and jump. – [Dad] Jump. Hey, that was fun. Do you want to jump off bigger stuff? – Yeah, we can jump up bigger. – [Dad] Holy cow I don’t dare,
do you think I can do it? – Maybe we can jump off. – [Dad] No way the roof? Oh my gosh this is like
title and thumbnail stuff. – One, two, three, four, five,
six, seven, eight, nine, 10. Whoa. – [Dad] My boot feel off. Maybe it was my arm? Oh no. We’ll fix it, don’t worry. – Fix it. – Okay, hey man, sorry about that. Shouldn’t have jumped off the roof. There’s a pin here. Nope, that’s a, is that
like a piece of food? I think that’s a piece of
food on my thumb or something. Yo Brandon, I think this is broken. – Yeah. – Its okay though, we can fix it. I’m gonna operate on him, and he’ll be just fine in the morning. Sound good? We’ll put that by the broken tail. We’ll fix both of those. – Today’s vlog, we’re
gonna, its my dads birthday. So we’re gonna surprise
him with some food. Look, there’s so much food. Were gonna, so were gonna surprise him. Okay we’re gonna, surprise him, and maybe he will be so happy. Okay. Let’s do it. Were going, were going. Start the car. We’re here. Daddy! We’re here. – [Dad] Hey. – I got the vlog. – [Dad] You got the vlog? Hey. – I got food for you. – [Dad] Oh and food. Is the vlog on? It is on. Babe, she turned it on. – [Mom] I don’t eat
potatoes, I’ll take the corn. – Daddy, what will you take?
– How’d you know how to turn this on? What will you take? – [Dad] I want a potato or a mushroom? Can I have cereal? – Okay. – [Dad] Thank you. Hey Niko bear. Eat the corn, here. – [Mom] Niko is not sleeping. – [Dad] How many naps did he have today? – Maybe like one little one. And he’s supposed to
have 4 hour long ones. – Your tired. Remember at tumbling, he didn’t even take a nap.
– Your cereal dad. – [Dad] Oh thank you. Oatey’os huh? That’s a binky? Hey, we need to get ready for bed. Do you want to say goodnight to the vlog? – Goodnight vlog. (upbeat music) – [Dad] Hey man, sorry about that. – [Woman] They ask you how you are. You just have to say your
fine, but your not really fine.