Sean Coleman:

Nice secondary hand movements in the main character. Really makes it seem like he's thinking. Gives him some nervous energy.

Try pulling the other character into frame a little more. Kinda awkward when he comes in and out of the shot constantly.

James Wilson:

watch the framing at the end.
bring camera up a bit

J K:

When he leans forward 60 -80 it looks very strange. Have his Head Lead the motion.

Zainab Siddiqui:

Very expressive movements! I like it :)

Ryan Lowe:

reference yourself next time. you need better acting choices.

Jon Houston:

We should see more of the other guy. It doesn't make sense to have him on a small part of the screen for like, a second

Mariah:

It feels odd that we hardly see the other character.

Jean-Luc Delhougne:

Interesting acting, too bad the choice of showing only a part of the other character is not really good.

Shogna Chang:

pleace let another into shot!!

Rachel B:

I keep wanting the camera to pan a little bit right - is there any good reason we're excluding that guy from the shot?

wei keong:

Can't see the guy on the right, and the camera is cutting off the main guy's head after he stood up. Pull back the camera!

Ken Rice:

Good effort here - I think you could do a lot more with the eyes of your main character, they look in the same direction the whole time. And I think you should have brought more of the other character into the scene.

Erik Westlund:

Nice finish with intense exchange chasing screen right character out of the frame. Hands on this last pose are flat (default for rig). Good ideas for this performance but too much reliance on computer to complete the job. Staging of screen right character is a little awkward, he needs to be clearly included in the shot (cropped by frame is ok) or out. You have him on a threshold between the two.

Marco Palmieri:

where's the other guy? need a better camera angle.

Russell:

The staging is not good. Don't put one character offscreen, then have them break frame partially through the animation. Animate both characters in frame to show your animation skills. The final pose of Sam breaks the top of the frame, which really takes away from the composition.

Loosen up the spine and shoulders. Have Sam get into the poses quicker and settle with more secondary motion.

James O'Neill:

Some of the poses are unclear. I would suggest that if you are going to animate two characters, either choose to have both of them completely in frame, or only one in frame. Otherwise it creates tension to only partially see one character, and it takes away from the story you are trying to sell.

Matt Garward:

Having the second character peek in from the side of the screen is strange and distracting... I'd either cut to show him when he's speaking, or keep him on-screen (further), or off-screen the whole time.

sean connolly:

great acting with the main guy. you might want to push his expression and mouth movements a bit. you should try setting the mouth keys 1 or 2 frames before the dialogue starts. the other character is slightly distracting.

Brian Boswell:

I thought the mystery hand would stick around for a minute, but then it was scared away.

barak drori:

all in all, fine character animation, I think you could have pushed it much more on the facial expressions

Alonso Soriano:

the end is strong with the holding of the bridge of the nose, first half not as much a little stiff (more Overlap/followthru) and poses aren't quite appropriate