Andrew Bina:

Needs work

Chris Welsby:

there are the signs of some nice poses in there. The body below the waist feels very stiff, I think if you looked at shifting weight from foot to foot and maybe moving of the spot this would help a lot. I think you should also think about easing into and out of moves as there are a number of sections that feel quite jerky. There are some nice key poses in there, keep working at it!

Max Herzfeld:

It looks like you went straight from the T-pose model into animating. Don't do that.

Plan.

If you know what you want her to do before you make you do anything, you'll get something much bolder, and real.

Do some rough sketches, or film yourself acting out the part. Anything to get your ideas flowing.

Good luck,
Max

C. J. Cow:

lol that screen capture is too funnnny

David Ruzicka:

too much going on, lips don't match.

Tom Law:

I feel that the jerky dip she makes at around frame 180 is too fast to read.

Roger Feron:

Timing on gestures needs more work - too fast in places. Body jerks around too much, ease in/out would help there.

Cole Higgins:

try and get her to move a little. Start from the hips and work your way out.. Right now shes sort of like a tree stump.

Tyler Phillips:

All I can say is, it needs more work.

Aaron Clement:

Timing is off. Hide the controllers before playblasting... it's a little distracting. The timing feels late. Work on your posing more.

Jamal D. Owens:

I see your key poses, but things are just moving all over the place. If you put more time into this, it will be a good animation.

Dan Dulberger:

Quite stiff and jerky. (The camera angle probably worked indirectly to your disadvantage, usually for such an emotional clip you'd want to show more of the face)

garvey harris:

when I used to go to acting classes a suggestion I made that made a lot of sense was that if you were on a bus or a in car and passing by and saw the character acting out the part, without hearing what was being said, how much of the expression and body language tells you what is going on?

I think the key here is resisting, and accusing the other character that they also had a moment of weakness, so far I'm not seeing that being expressed enough

Ezra Allen:

too much going on, not enough that works to convey the characters emotions.

W Jacob Gardner:

You've got the legs in the shot, but you don't use them! You could have easily made this more of a torso only mid-shot, which would have given us a closer look on the face to see her emotions. Or on the other hand, if you want to make the most of this camera distance, then have her move around more.

Simon Bean:

Bit stilted. Really think about the poses and match them to the audio more. It's a shame when the animation would be improved by taking poses OUT. The section around the "but" is really muddled. Try acting it out in front of a camera next time and really try to copy the way human bodies move through poses. Don't just wing it. Hope this is of help :) Keep it up

Florent Perrin:

Beginning is hard, try harder!!

Mike Courtney:

Turn off NURBS curves and poly count Heads Up display please. Overall movements are jerky and needs to be smoothed out.

Daniel Huertas:

???

Erik Griott:

first of all, you have to move the character around a little. especially if your are shooting her from a long camera angle. even if her feel never move, you have to shift her weight from one side to the next, or forward to back, any thing to make it interesting. watching someone stand like a tree and move their arms isnt the same as watching someone get nervous and constantly switching feet, or getting angry and inching forward to who their talking to.

Taber Dunipace:

The animation is popping and glitching all over the place. Do some simple humanoid animation tests to get the hang of a full rig and remember to keep it simple!

Bilal Ahmad:

you could've done a bit more on the posture extremes...

Alexis St-Laurent:

She moves a lot, it would be better to keep it simple and she doesn't move her legs. When you stabd in place, it's frequent to change your balance and stuff like that.

Michael Richard:

The character needs stronger key poses.

Gregory Marlow:

needs a lot of polish and refining

Victor Wong:

Gestures are a bit uneven; some timings are good while others need more SI/SO. Also the lower half of the body seems a bit wooden.