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THE ANIMATION.
 

                The tone of the dialogue was more subtle with this animation.  Having acted out the sentence in front of a mirror, I quickly realised that the key to capturing this emotion was in the eyebrows, and the subtle tilt of the head.  The morph-shapes for the dialogue were practically identical.  Timings had to be changed to fit the dialogue, but overall I was acheiving usefull results much more quickly.  The reason for my increased productivity was the experience gained in the first animation.  The tilt of the neck needed more work still.  Only a subtle change had been added at this point.  Now, it seemed that I had learnt enough not to make radical errors.  Tweaking fine subtle differences was now all that was left.  The dialogue timings still needed improvement.  It was becoming clear that a set of rules to convincing facial animation was readily becoming apparent.

                THE FINAL ANIMATION CAN BE VIEWED BY CLICKING HERE.