Carlos Fins:

I think this is coming along, but there's too many hand positions. Some of the transitions are poppy.

Tyler Phillips:

I think the transitions could be a little smoother. Her fingers don't seem to move during the holds. I like how you used the banging sound.

David Ruzicka:

This is great posing stage, it seems like you were only half way done. You have very steeped curves on it, very robotic. and her left hand floats over the table at the end. The lips are great.

Tom Law:

the transition between poses seem too fast for me around frame 65, otherwise pretty good.

Hernán Bruna:

Nice render

Mark Dickie:

Solid effort. Very emotional facial expressions. I like what you did with the sniff, and the reflective look at the end.

Cole Higgins:

dont really feel the weight on this character. try and get her poses next time to feel more fleshy and natural. Right now shes stiff and is lacking a natural appearance. I can tell though that your thinkking about her emotiona and what shes thinking. Thats the most improtant part.

Aaron Clement:

I had my character banging the table, too. Watch that things don't all hit at the same time, though.

Roger Feron:

Some anticipation needed on those big movements. Don't have your character perfectly still during the holds.

Yeray Díaz Díaz:

Work on the transition between poses, she's waaay to pose to pose. The lipsync needs work also.

Dan Dulberger:

Quite stiff, she's striking poses instead of naturally leading into them.

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:

Its feeling very pose to pose also there is no weight in those arms partially emphasised by the shadows under the hands showing there not making contact with the table

David Humphreys:

concentrate on your contacts with floaty hands your distracting your audience a bit.

Simon Bean:

love the hitting the table, but IMO the acting then lets it down a little. The poses are really snappy and without polish. Maybe next time, get your poses fixed, then really work back into it until it looks more natural. Hope this helps ;)

Mike Courtney:

Lip-sync not there yet. Needs some moving holds instead of stopping on poses.

Renzo Biffa E.:

there are not smooth movements in the body and face expressions, and not good lip-sync, but it can be improved.

Eric Scheur:

I really like how you're conserving your poses here--you're showing really good constraint for not hitting every beat with a pose. And having her stand up in the middle provides a really nice way ot keeping the viewer interested and adding tension into the scene. Well done. :)

I think that there are a few things that would help this scene along, though. Top among them is to find a way to lock those hands to the table. REally make those fingers flat and feel like they're contacting a hard surface. You may even have to bend some of the fingers backwards in order to get them to feel that way, but it'll be worth it if you can get that sense of interaction in there. :)

It also feels like you could potentially loosen things up and slow into your poses. For example, when she stands up, it feels a bit mechanical. you can get away from this by having the spine overlap as she stands up--remembering that all of this motion is coming from her hips, providing pressure by pushing her feet against the floor and having that force come up through her body... each part of the spine will react just a bit offset of the next part. And then, after she's up, you can settle into that pose by easing in with the body and the head as she comes into balancing herself in her new pose...

Look for places like this to loosen up the body and move into each pose more naturally, and I think you'll see your animation start to make a great jump from where it already is. You're already making some really nice decisions in the acting: supporting those decisions with solid body mechanics will shoot you up to a whole new level.

Good luck! :)

Victor Wong:

Lip sync is off a touch, but acceptable. The main problem is that there's no feeling of weight in the arms, especially when they come in contact with the table.

Phillip Moon:

Started great, but lost the connection to whoever she was talking too.

Taber Dunipace:

The poses are linearly inbetweened and evenly timed on the vocal cues. We need to see more contrast of timing and spacing here, as well as more observance of fundamentals.

Bilal Ahmad:

nice effort!

Gregory Marlow:

needs more moving holds. Too snappy at other times. Seems like everything is still flat tangents.

Michael Richard:

animation needs more massageing of the curves, so things don't come to a slamming halt, motion wise.

Jeranimo:

Very disconnected!

Erik Girndt:

The character is sticking in each pose. Kind of a move, hit, hold action. Also, work more on contact with the table, her hands float just above it.

Alonso Soriano:

decent poses, need to roll between them smoother less poppy

Sean Graham:

Pretty linear. The basics are there, it just needs a lot of refinement.