Dan Dulberger:

The way it snaps and sticks in poses makes it look more robotic than natural.

Kai Huai:

The part where shes says no wish to live.. took me by surprise. I think in overall the brow need to be involve more to give the expression more live.

John T. Coomey:

Good Job. Watch your torso rotations they look a bit mechanical, just because you can't see the hips doesn't mena you don't have to think about them when you animating

Michael Slater:

Good to see the hogan rig in female form. Like the hand movements and the gasp is good. Maybe the right shoulder is a bit off from the arm but it is very good.

Isaac Hingley:

The held poses need more subtle movement in there they lock up a bit. It needs more work on the breakdowns. There are too many poses especially with the body in there. pick 1 or 2 maximum 3 poses to work within for a shot like this. the sync is off in a few places too

nick vona:

seems over acted

Dwarakanath Jnaneswar Ekkirala:

the gesture of hands on "Town" is a bit too slow for the strength of "sound" when she says it.. I also dont think you need to hide the face and come back up again.. That face hiding in the middle, kinda takes away the audience's touch with the character's eyes.. may be she "cringes" rather than take her face all the way down? Also, lip-sync could be better.. But good start over all. Keep Enjoying!

Frank Collazo:

good

Florent Perrin:

So sad you didn't finished... Some poses are beautyfull.

Aaron Clement:

Good, but a little pose to pose

Kyle Mohr:

I like the delay you have on the fingers at the beginning, thanks for keepin the fingers animated! It really loosens up the hands so much.

Try to get that kind of looseness in the rest of the body. When the chest moves, drag the head to express the weight of that head. Everything also tends to hit the pose at the same time, really try to make sure that things don't start and stop together. If you add some drag and overlap this will start to happen as well.

So, really try to feel the weight of each part. Your spacing is a little too even, those are masses that weigh something, and they can't just stop on a frame right? So work on slow-ins, slow-outs, over shoots and cusions. (check out The Animator's Survival Kit for detailed lessons on all of these timing principles). Just remember that most of the time, because our hands, head, and body have mass, it takes them a little bit to speed up when they move--hence "slow-in" to the action. The middle part of the action should normally be the fastest part, and at the end you can eitehr overshoot your final pose, and have it cushion to its resting place, or "slow-out" of the action, meaning the action literally slows down until it stops.

Keep up the hard work, and don't give up!

Gregory Marlow:

Dude. Way too dramatic on the gasp.

Jace Bandalin:

Very well done! You've really captured the emotion with the posing and silhouette here! Some of the transistions between poses felt a little bit too linear, but you really got that emotion across very very well, great job!

Alonso Soriano:

you're moving and striking poses but often they are not really telling me what the character is thinking, or they are big vaudiville poses of drama. Movement is okay, but a little stiff, consider residual energy, and energy rippling across the body (the arm moving affecting the chest) Consider where your audience should be looking and try and direct and keep their attention there (usually the face and eyes, so don't move the head around too much without a good reason, and don't distract with big arm/hand movements unless you want the attention to be there, and then bring the attention back to where you want it.)

-Alonso

Christiaan Moleman:

a little too pose-to-pose, and perhaps a few poses too many as well. I'd simplify it a bit but make it flow a bit more.

Virgil Mihailescu:

the main acting idea is there, but the animation is too pose-2-pose-ish, try adding more detail, some overlap... also, the lipsync is off.

P Walters:

As my acting teacher would say, "stop acting". It just seems overly acted. You're hitting the poses well though and the movement's not bad.

Taber Dunipace:

Movement is too linear and rough. Poses are very noticeable stops in the acting. Some poses are unrealistic and awkward.

Pascal Immerzeel:

It does need some offsetting keys and polishing. Animation & idea is there.

Robert Tighe:

Very linear. Could use more polish/arcs and slow-ins/outs. Nice blocking though.

Mike Courtney:

The poses are there, but it needs some more overlapping and secondary action.

Ryan King:

The composition if very central. And the character seems to go from left to right and back again. There doesn't seem to be a specific interest for the character. Which means there is no specific interest for the viewer. There could be some more eases too. It becomes evident there are ofsetts particularily in the fingers the way the settle.

Eric Stirpe:

I like your hand gestures: those fingers have some great follow-thru on them.
It's hilarious seeing this rig in a wig as well (haha, rig-in-a-wig); almost spot-on lipsync; just watch out for that word "live," it looks more (s)he's saying "lib" or "lihh"

Damodar V Sawant:

I think it would have been better If U have added some cushions and overshoots to the poses and also slow ins and slow outs are missing.

luis veiga pumar:

feel's very linear, and bottom part of the body never moves, only seems to rotate from the mid pont. posses are good, but near the end a bit to overthe top. need scaling down so there not such strong movement's. feels to over dramatic for how the character is talking.

lipsync needs work on, the sigh is out by a few frames i think.

Aziz Kocanaogullari:

the movements are a bit stiff, it looks "animated", not "natural". but the gestures are nice. nice, keep 'em coming!

Dylan Maxwell:

a less dramatic interpretation of this (very dramatic) clip might play better, That big pause is HUGE here. We miss out on other nice subtleties. It's also a bit pose-obvoius, if you know what i mean.

Peter:

Nice acting and nice timing. :)
I think this could use a few more passes, though.
oh the breath, you could overlap the neck and head and also add a break down to the hip to bring it down. Try to move things on arcs as much as possible and stay away from straight movement when going from one pose to another.
Nice animation. :D

Jett Atwood:

This animation strikes me as overly dramatic for a line that is rich with internal thinking. There's no need for so much wild gesticulation for a line that demands subtlety in animation.
Technically it's proficient but it doesn't feel like the character is *thinking.*

Eric Scheur:

I like the desperation of her acting...Nice work with the hands. :) Though I can't really tell who she's talking to, or if she's talking to herself.

I think there may be two or three too many poses in here... for example, I think you could use one pose for "wish" and "to live."

Besides that, I'd also work on making sure that it looks like her entire body is acting, even if it's out of frame. Right now, it kind of looks like she's a torso supported on a stick--unless that's what you were going for, it should feel like she has hips and legs below her.