Swing Analysis - Solid contact

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All right, golfers, in this video, we're going to dig into solid contact.

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This is probably one of my favorite things to improve because nothing feels

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better than

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a well-struck golf ball right out of the middle of the face.

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We are going to tailor this more towards iron play versus driver.

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Driver is more about that flat spot and adjusting your T height or little

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variables to help

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control the height.

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When it comes to solid contact with the irons, it's about ground contact and

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low point control,

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and that's a little bit more tricky, but what we saw in the benchmarks program,

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iron play

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is about 40% of your scoring difference.

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So while it's tricky, it's very worthwhile to invest time into improving.

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So when it comes to solid contact, we're going to focus on what the club is

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doing from this

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position here, delivery position or P6, all the way through impact and into P8.

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So as a rough shape, if we start at impact, we're trying to have our hands

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slightly ahead

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of the golf ball, but swinging roughly on plane so that the bottom of the swing

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is down in

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the ground a little bit, but four inches out in front of the golf ball.

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In order to do that, we need to be coming into a good delivery position.

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Now this is technically a little bit past delivery, but this is a really easy

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one to

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identify.

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When the club is parallel to the ground, like it is here, you want the club to

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be in front

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of your body or slightly in front of your shoulders with the button and the

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club roughly

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even with the back of the golf ball.

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From the down the line, you would want the club head in line with the hands or

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slightly

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in line with the hand or slightly inside the hands depending on what ball

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flight you're

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trying to hit.

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When we go through to our follow through, we want to make sure that we stayed

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in our spine

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angle so we didn't stand up.

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In fact, our tilt is going to reach its maximum right around this position.

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So between impact and this position, you should actually see that right

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shoulder getting closer

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to the ground, not standing up.

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So we want to make sure that we're getting into a really good width or

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controlling the

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widest point of the swing being more of that follow through.

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So we want to see arm extension from impact to this position here, not arm

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bending.

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If you master those, you're well on your way to mastering ground contact.

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Okay, so shaft parallel in the downswing, here are those key pieces we talked

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about.

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We already want to have a pretty good lead shoulder to hip relationship, so we

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don't

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want to have a big tilt this way and we don't want to have a big lunge that way

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.

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We want this leg checkpoint where the hands are slightly inside the shoulder

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and the

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butt of the club is roughly even with the golf ball.

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Oftentimes golfers upper body gets too far forward and their lower body or

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sorry, their

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arms cast and release back here.

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It's almost impossible to get shaft lean from that position or at the very

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least, if

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I do, I'm going to be in a weak position, so I'm going to struggle more with

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distance.

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But oftentimes what happens is if the arms are way further back, then you have

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to have

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some type of body stall and stand up to change the low point or you start

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bending your arms.

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Both of those cause consistency issues.

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From the down the line, we want to see the club head basically in line with the

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golf ball

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and look at the club face, if it's pointing more this way, that's open, if it's

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pointing

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more that way, that's close, so if it's pointing like this, that's open, if it

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's pointing like

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that, that's more closed.

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So this is a really good checkpoint to see the club head.

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If it's open, then I suggest comparing this position to where it was here in

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the backswing.

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So basically what a lot of golfers do is it's fine during the takeaway and then

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their transition

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move opens it up.

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Also if we're looking at this position and this is out of sequence, then I

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would look

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at, we're out of position rather, I would look at my body movements that I have

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a bunch

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of sway, that I have a funky transition move.

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So this would be my trigger to investigate what happened beforehand.

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But if this point is pretty good, then I'm not too worried about any little

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nuance that

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might be going on in your backswing or at the top of the swing.

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But looking here, we're looking at the clubface and we're looking at the left

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wrist being

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more flat or bowed, this is kind of a evidence that comparing this to that P2

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or shaft parallel

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in the backswing is a good way to look at the motorcycle movement.

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I also want to look at my spine maintaining its posture and I want to look at

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pelvis turn

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versus thrust.

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So compared to where I was at set up, is my pelvis moving in towards the golf

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ball or

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is it basically stayed a little bit more towards the back of the heels?

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This is a good place to check if the right leg is thrusting in past that foot,

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kind of

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going this way, that's an indicator that I'm doing more of that thrust move.

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I also want to make sure that at this point, my chest is roughly facing the

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golf ball or

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the very least, it's not way back there.

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If it's pointing way behind the golf ball, that's almost always compliment to

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an arm

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throw pattern.

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So this is a good position to investigate and then you can figure out if the

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movement

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happened more in the backswing or more in transition that disrupted this.

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We've analyzed impact a bunch, so remember we've got the shaft plane, the arm

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shallowing

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structure, the amount of body turn as well as keeping the tilt.

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We've got the shaft lean, the axis tilt and that impact line as well as the br

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acing movement.

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Those are really the big pieces that you want to look at at impact, but now you

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can see if

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everything was kind of off here, then it's going to be hard to get into that

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solid impact

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position as well.

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And then lastly, looking at the follow through, this is maintaining that spine

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angle.

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We had it impact, right shoulder getting slightly lower, making sure that when

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you turn to look

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at the target, your head is on a slight angle and not getting more vertical.

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Plenty of body rotation at this point.

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Your hips are pretty close to pointing at the target, same as your chest.

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This is the club checkpoint number two, so looking from this down the line is

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the club

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head well outside the hands, that can happen if I have more extension and the

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path is probably

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six, seven degrees inside out, or is the club exiting way low down by my knees,

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that would

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be more outside in, typically more of an upper body dominant pattern.

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So path checkpoint, whoops, so path checkpoint one is here, looking at the club

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head relation

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to the hands, and then path checkpoint two is here, looking at the club

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checkpoint with

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the hands.

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In line with the hands are slightly out to the right is typically more

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preferred.

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In this position, we can also look at ulnar deviation.

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So there are two times where I look at ulnar deviation.

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In is here, so ulnar deviation makes it easier to get the club in line with

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that forearm

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when it's down like this.

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That's often a sign that I've got too much radial deviation.

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And then here at this position is one of the easy places to see if the wrist is

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started

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to rehinge too soon, and usually means that there was some type of arm throw or

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extra arm

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action during the release.

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So looking at these positions, we can get a real good snapshot as far as how

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the release

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is happening, and then we can circle back to do we need to prioritize

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transition, the

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backswing, or is it just a release issue?

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One way you can identify if it's a release issue is if you can do, if you can

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hit these

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positions in nine to three, so to put yourself on video doing a nine to three,

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if it looks

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significantly better, then it's usually more of a transition or a pivot issue.

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But if you have a hard time doing it, even in slow motion on this, then it's

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usually

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more of a release issue.

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Okay, so remember the face on view is where most of the magic comes from,

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especially for

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solid contact.

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So here we've got different camera angles, but I've got these lines in here.

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You can pause the video, or you can go to John Michael Field's YouTube page to

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look for

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some good quality videos, you can find these ones and look at it yourself.

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So we've got hitting all those checkpoints, hands in front, arms extend,

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maintaining the

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shoulder, right shoulder down, ulnar deviation, good arm width.

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Same thing here, hands in front, shaft lean, good arm width, good bracing

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position.

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You're going to get bored of this.

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Hands in front, impact position, body still down, shoulder at its lowest point,

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good

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ulnar deviation, arm extension, good bracing.

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On top, we've got hands in front, good shaft lean, a little less of the ulnar

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deviation.

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It could be the shot, but that's also some of just Rory's swing move.

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But good bracing position, right shoulder is down.

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So he's maintained his core and his arm structure, even if the wrists are a

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little bit more nuanced

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for his delivery position.

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Another good classic one here, we've got hands in front, helps create the shaft

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lean with

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the good body rotation, right shoulder at its lowest point and good ulnar

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deviation or

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arm extension in that follow through.

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Again same thing here with Adam Scott.

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So we've got arms in front in that delivery position, good wipe.

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You can see the elbow working in front of the hip and then good arm extension

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there.

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Then we mentioned when we took a look, not a ton of the elbow working in front,

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so perhaps

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a little bit of some shoulder issue going on, but really good follow through

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position,

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good shaft lean and pretty good delivery position.

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So overall checks all the boxes.

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Another good one here, camera angle is a little low and a little kind of target

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side, so that

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skews things a little bit, but arms are in front, hands are in front of impact,

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good

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arm extension, good bracing position, leg straightening, all that good stuff.

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So from the down the line, we can now start to see some of these control

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elements and

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we can look at the shaft plane.

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So overall, it's harder to find really perfect where the camera was at the

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right height.

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So I'll show you another example there where you have to be careful, but club

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is slightly

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inside the hands to slightly outside the hands, club face is a little bit past

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vertical to

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close the vertical there, maintaining the spine angle, right shoulder getting

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down, good

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body rotation, all these good elements.

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Here's another one right in line with the hands and I stopped that one a little

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short

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so of when it gets in line with the hands so you can see it a little bit

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clearer, but

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those are the two big path checkpoints.

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This is a really good height of the camera angle.

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So you'll see how in line and how straight all that was.

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Right arm bent, you can see the left arm, it's probably a little bit tough, but

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if you

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look at the video, you'll see it a little bit more clear, right shoulder at its

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lowest

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point, maintaining the spine angle, all good pieces.

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This is the one where we can see that the camera angle is a little high and a

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little

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bit more towards the target line.

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That makes it look like this is coming well from the inside.

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So I put this in here just as more of a cautionary, you have to make sure that

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if you're going

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to look at path, either verify how it looks on radar system like track man or

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quad, but

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at the very least, make sure like you use ball flight and how much it's curving

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to give

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you a rough snapshot, but you'll see the difference between if the camera is a

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little bit off

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here, especially if it's a little too high or too low, that will influence how

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the club

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is going to look.

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If you're doing it with yourself, all that really matters is that you keep it

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consistent,

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but if you're trying to be relatively accurate, then you want it at about the

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same height

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and even with the hands.

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But we can see more clothes coming from the inside.

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Those are two good checkpoints, but all the other pieces you can see are

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relatively easy

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to see, even if the camera angle is a little bit off.