Deanna Bishop:

Great gesturing! lip sync seems a bit mooshy. Otherwise great!!

Adam Levin:

The sync seems a bit off, and I don't agree with the acting choice of making her in your face for this line.

Steve Sloan:

lip sync could use some more work

Shahbaaz Shah:

Good acting choices!Watch intersecting geometry on his left hand. A bit more work on the curve editor could help the wrists and fingers.

Dan Dulberger:

Abit exaggerated toward the end with the palms slapped on the table and the face pushing towards the camera. Dramatic and entertaining though.

Brad Bradbury:

mouth shapes are late during "no wish to live". try shifting them ahead two frames for that part.

Michael Slater:

Very nice. I like the body movements and the way the character talks into the camera. Love it.

Isaac Hingley:

The character is moving around too much and the animation is a bit floaty. It could really use to have some held poses in there. Also it would be nice to see a bit more depth to the staging in stead of the table and the character pointed straight at the camera

Dwarakanath Jnaneswar Ekkirala:

Not bad at all.. good start! My comment is : put in more moving holds.. make expressions stronger.. make mouth shapes snappy.. and the lean forward on "a life" seems floaty.. may be you can come forward and have a moving hold.. Good start tho! Keep working hard!

Hector Lopez:

I like it. Just a few things, the hands look floaty and the dialogue is off at the end when she says, " no wish to live".

Aaron Clement:

The start isn't too bad. Maybe one too many poses

Kyle Mohr:

I like the turning to the side when she gasps, and then back forward again, I think going to profile creates some nice contrast with the end.

You have some nice ideas about what the character should do generally, but remember that every body part has weight. It can't just start and stop suddenly, it drags behind, then catches up, the intertia maybe causes it to overshoot and then settle back to rest position. Check out The Animators Survival kit, and take some reference video--really study it frame by frame, you'll be amazed! :)
I think the concept of force and drag is one of the most important aspects of physical animation--slow-ins, slow-outs, overshoots, and cushions all give the impression that these objects have weight that can't be stopped on a dime.

Also, while Package Man is a good rig to use for this sort of thing, maybe try getting a female looking rig next time ;)

Keep up the hard work, study reference video and you'll be amazed at your progress!

Lauren Wells:

Looking good, just watch those elbow pops! :)

Gregory Marlow:

She/he/it gasps like Brad pit just walked throught he door. Think about what the gasp means. Why does she gasp. Is she surprised or is it because she realized something? Or is it because the next line is particularly hard to say? plus the package man character takes away from it a bit.

John T. Coomey:

Hey this is kinda cool, even if it is some guy with a girls voice.. :)

Watch you had to forearm relationships. They look broken on contact with the table. Also a more 3quarter camera angle would make the shot more interesting visually and have him look just off camera and not straight down the camera..

Virgil Mihailescu:

the body is ok, but the logic behind the acting I find a little unclear. there are a few ares where the lipsync looks strange, like in "no wish to live in" or "a life I have no wish to live".

Taber Dunipace:

Acting poses seem really unrealistic. I can't see a real human being behaving this way.

Alonso Soriano:

staging could be a little stronger, the head and eyes are way up to the top of the screen and my eye isn't really getting directed there (which is the heart of almost all character performance) The movements and poses of the character don't communicate to me clear emotions or emotional changes, in other words I'm not sure what the character is thinking or feeling. The facial expressions do somewhat communicate that, but you are neglecting a huge tool if you don't get the body selling the same idea as well. The glance off screen doesn't make sense to me as the motivation for the realization of her unhappy condition.

Mike Courtney:

"Live" could have been stronger. There is a pop on his left hand when it comes onto the table.

Christiaan Moleman:

The take on the breath in the middle is a bit odd. Like the character is reacting to something off-screen... doesn't really fit the context. Initial bit's nice tho.

Derek Mabson:

Too floaty on some of the parts, especially w/ the elbows. Pay attention to the hands as they move oddly, maybe it's the IK but I would clean it up better. Otherwise good job.

Ryan King:

I think the gasp was a bit much. It kind of takes you out of the moment. Also the composition is alittle high I think. there is alot of dead space at the forground with the table and a 3rd of the way into the animation we almost lose the eyes off the top of the screen. Maybe raise the camera.

Ryan Malm:

the lip sync needs some work near the end.. but I liked the performance otherwise.

Eric Stirpe:

It's a little over-dramatic for the audio given; and I think it kinda takes away for the "understatedness" of the dialogue.

luis veiga pumar:

starts of good, then halfway through lipsync starts to not work

Gao:

Hey good try, I think you would bring the acting across more strongly if you tone down on your actions some more, more subtle actions, less big hand gestures.

Also you might want to give his tongue a different from his teeth, its hard to see the the lipsync when its all the same color

Erik Griott:

what is she looking at when she sighs?

Aziz Kocanaogullari:

nice facial expressions but somehow, there is a stretching and squashing action on the face, either because of the rig or you choice of using it like that which bothers me and drives my attention a little bit.

Dylan Maxwell:

i like the whispering toward camera. Most of the motion feels like the first pass, the sync is off as well. Try doing less and slower.

Eric Scheur:

Nice acting choices. Focus a little more on hitting poses and staying in them--the body mechanics feel a little floaty right now. But you are definitely on the right track with the gestures and head accents.

Jett Atwood:

It's very busy for a piece of dialogue that is much more internal.