WEBVTT

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In this analysis video, we're going to take a look at analyzing swing plane on

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2D.

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So I had a member ask a question about the different plane lines, so here are

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some people

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talk about shaft plane that's set up or what becomes the forearm plane or the

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shoulder

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plane, and basically which one should you use and what should you use 2D for

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when looking

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at swing plane.

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So in this video, I'm going to discuss how you can use 2D video to help you

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figure out

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what your swing path might be, and then factor that in so that you can

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understand how to

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set the camera up, what to look at when you're looking at videos on YouTube,

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and how to make

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some general adjustments.

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So first, I'm going to advise that you don't draw any of these lines at set up.

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What I prefer doing is taking the swing to impact, and then drawing the shaft

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plane,

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so that frame right there is impact, so drawing the shaft plane at impact.

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So we'll do that with both meringchimer over here on the left and roy macroy

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over there

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on the right.

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So we took them to impact and drew a line up the shaft and just extended it a

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little bit.

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Now this tells you that in order to really look at path, you're going to need a

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high

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enough frame rate in order to capture impact.

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So I would say minimum 120 frames per second, but if you want to be really safe

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, somewhere

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above 200 frames per second, we'll help you be able to see where the club is at

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impact.

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And the faster the shutter speed, if you can find cameras that have really fast

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either

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sport modes or do it with a lot of light, if you're using something like a

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smartphone,

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that way you'll be able to see the club hopefully clearly at impact.

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Now the more, so here we've got our baseline, our baseline is basically that

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line at impact.

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Now I recommend putting the camera parallel to the ground and in line with the

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back of

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the hands right there.

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If you are more on the target line, then that's going to skew it and we'll talk

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about that.

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If you are more on the body line, that's going to skew it more in and out.

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But if your hands are pretty close to on this target line, you're going to have

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relatively

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consistent reference in order to analyze the swing path.

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The other little thing is you have to understand that different camera angles

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will skew those

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numbers or skew the appearance and in addition the height of the camera, so if

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it was angled

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down or angled up, or the distance away from the golfer, so if you really

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wanted to be

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consistent with looking at your own game, put the camera at the same height, at

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the same

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angle, the same distance away and you'd have a pretty accurate set up for being

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able to

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look at your individual swing path.

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Now, in general, if we draw the swing plane at impact, the more that the club

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is coming

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from above the line here, in the downswing, that's going to be a leftward path

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or outside

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in and the more that the club is underneath the line here in the follow through

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, that's

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going to be more of an outside in path and that's necessary for hitting a cut

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shot.

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So here we have Martin Kimer who hits primarily cuts and you'll see that the

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club is slightly

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above that impact plane and then gets slightly underneath it on the way through

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.

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Now you may find, if you really slice the ball that instead of exiting just

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below here,

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the club may be working around here or even I've seen it as low as to the knees

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where it

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was working so much outside in that it was exiting very left, or you may find

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that up

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here at the top, the club may be significantly above this line.

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That's going to tell you that you probably have a severe outside in path.

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You don't even want to try to guess how many degrees or recognize that if you

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slice the

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ball and you have a big one video, it looks like the club is above the line

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coming into

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impact and then below the line on the way through and you think you said that

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pretty

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good, then you have an outside in swing path and you want to do things that

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create more

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of a shallowing in order to balance that out.

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That includes closing the face more with rotation.

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That includes arm shallowing, that includes the Jackson 5 or some axis tilt,

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that includes

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better sequencing or weight shift in the front, that includes not having any

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forward

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lunge.

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There's a number of different ways you can get into shallowing the club and we

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cover

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a lot of those on the site because many golfers struggle with too much outside

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in and don't

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want to hit cuts the way Martin Kimer is doing it.

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Now if we jump over to the right, we have Roy McRoy, golfer who is known for

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hitting

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high towering draws with the driver or at least they were back in some of his

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better

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driving days, probably or not.

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Here we have a camera that is slightly closed.

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This camera is pointing slightly to the left of his start line.

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The center of the camera is angled a little bit that way, which the more that

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you are

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out on the target line, the more that you have the camera here angled back that

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way,

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it will tend to make the club look like it's more from the inside, so this will

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exaggerate

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it just slightly.

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If you're more on the body line and shooting that way, it will tend to make the

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club look

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like it's steeper or more outside in.

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Just as what we saw with Martin Kimer swinging more from the inside or from

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below to above,

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with Roy we're going to see more swinging from below, sorry, with Martin Kimer

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we saw

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more from the above on the downswing to below on the follow through, with Roy

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we're going

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to see more from below on the downswing to above on the follow through.

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So here he is coming from below that line and then hitting it pretty much on

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that line

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and then going quickly up above.

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Now you'll notice that his hands, even though the club is working well above,

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his hands

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are still working around to the left because he's had good body rotation and

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good release

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mechanics, not really a major flip of the wrist.

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So even if you're going to have more of a draw path and have the club swinging

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in the

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out, I'd advocate trying to get the hands to work more up the plane liner up to

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the

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left from body rotation and a good solid release.

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And again, we cover a lot of those topics on our site in varying different

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videos either

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related to the release or the body sequencing on the way through.

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But this would be a good idea or good model here as far as if you're trying to

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get a general

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draw shape, the club finishing more up out in front versus down low and left

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versus a

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fade where it would finish at about the same point.

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You can see that the club is lower and more to the left or about the same grip

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location.

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You can see that the club was lower and more to the left.

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These are the classic ways.

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If you're going to look at your path, you want to do it from down the line, but

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I'm

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going to give you another strategy if you're a little bit more adventurous and

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really want

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to get a good handle on your path.

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So one way that you can get a good sense of your path is what I did here.

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You can actually see from the shadow, I just used a selfie stick on a tripod.

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But if you have a buddy who can hold a selfie stick up above the golf ball, so

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it's shooting

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down, it gives you a really good approximation of the path.

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So this line here is representing the target line, and you see I drew a line

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right here.

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Now if I go up and come down into the downswing, you'll see that that club is

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going to, there's

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a little jump in the camera there, but it's going to approach slightly from the

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inside.

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And if you just kind of scrub back and forth, this ball will hit a little on

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the toe, but

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you'll see a general path of the club slightly in to slightly in.

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Now I typically have fairly neutral path numbers.

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What you would see is a outside in path would look probably more like this and

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then working

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much quicker to the left and into out would be looking more like this and then

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look like

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it would go pretty straight longer.

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A neutral path will tend to have almost a symmetric curve to it down at the

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bottom.

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And that's what you would see from a down the line angle.

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You would see that as a club that looked like it was following that impact

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plane.

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Okay, so over on the right is a swing taken from about that same time frame.

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It was fortunately this practice session, I was only messing around with the

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overhead

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and I didn't have any down the line, but this was taken about that same week or

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same time.

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And so what you'll see, the driving range has a slight up slope, so the camera

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is angled

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with the slope.

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But what you'll see is this had a little bit of a rightward path, so it was

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coming slightly

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from the inside and then pretty much following the hands and the club following

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that path

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through impact, that would look fairly symmetric like we're seeing here.

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Now if I take that all the way back to setup, you'll see a rough, really rough

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approximation

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is you'll put it through about the point of the right elbow.

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If you're in line, pretty in line with the back of the hands, that usually

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works out

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to about the impact plane unless they have more of some style choices that

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create a very

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different looking, either really vertical or really hands low impact position.

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But in general, you will see most golfers who have more of a neutral path will

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have the

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club roughly following that line.

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With the driver, it will be slightly more into out or from low to high, kind of

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like

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this one, in order to account hitting less down on the ball.

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With an iron, it will tend to be slightly above the line to possibly even

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slightly below

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in the follow through.

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So if you're working on your off-season plan and you hit hooks and you have

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more of a swing

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path that tends to look really low to high like this, then you'd want to work

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on drills

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that would help with the more of the hook program on the site or the body

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rotation, making

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sure you don't have early extension, working on arm-shallowing instead of body-

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shallowing

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all those things.

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If you have an impact path that looks like this and you have a club that is

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coming from

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well high to low, that's going to be a leftward path and you're either going to

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hit big poles

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or big slices, if you have that, then you want to work through some of the arm-

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shallowing,

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the sequencing drills, as well as earlier club face rotation, some of the

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follow through

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checkpoints, all of those will help you dial in your path to give you control

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of the ball

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flight in the way that you want.