Fix Your Slice
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2D is an incredibly useful tool for understanding your pattern. In this video, I help you understand the functional swing plane. It's a plane that is created each swing and exists from about waist height to waist height during the downswing. See what to watch out for with video and how you can use video to help decode your path and understand your miss pattern.
Playlists: Fix Your Slice, Understand Your Swing Plane/Path, Fix Your Hook
Tags: Poor Contact, Analysis, Member Question, Intermediate
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In this analysis video, we're going to take a look at analyzing swing plane on 2D.
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So I had a member ask a question about the different plane lines.
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So here are some people talk about the shaft plane that set up or what becomes the
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forearm plane or the shoulder plane.
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And basically which one should you use and what should you use 2D for when looking at
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So in this video, I'm going to discuss how you can use 2D video to
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help you figure out what your swing path might be.
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And then factor that in so that you can understand how to set the camera up, what to look
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at when you're looking at videos on YouTube and how to make some general adjustments.
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So first, I'm going to advise that you don't draw any of these lines at setup.
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But I prefer doing is taking the swing to impact and then drawing the shaft plane.
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So that frame rate there is impact.
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So drawing the shaft plane at impact.
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So we'll do that with both.
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We're going to timer over here on the left and we're going to go right over there on
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So this is going to be a little bit of a high impact and drew a line up the shaft and
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just extended it a little bit.
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Now this tells you that in order to really look at path, you're going to need an high
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enough frame rate in order to capture impact.
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So I would say minimal 120 frames per second, but if you want to be really safe somewhere above
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200 frames per second, we'll help you be able to see where the club is at impact.
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And the faster the shutter speed, if you can find cameras that have really fast either sport
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modes or do it with a lot of light, if you're using something like a smart phone, that
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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 line at impact.
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Now I recommend putting the camera parallel to the ground and in line with the back
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of 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 about that.
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And 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 a 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 will skew those
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numbers or skew the appearance.
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And in addition the height of the camera, so if it was angled down or angled up, or the
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distance away from the golfer.
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So if you really wanted to be consistent with looking at your own game, put the camera
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at the same height, the same angle, the same distance away, and you'd have a pretty accurate
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setup for being able to look at your individual swing path.
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Okay, now in general, if we draw the swing plane at impact, the more that the club is coming
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from above the line here, in the downswing, that's going to be a leftward path or outside
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And the more that the club is underneath the line here in the follow-through, that's
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going to be more of an outside impact.
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And that's necessary for hitting a cut shot.
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So here we have Martin Kimer, who hits primarily cuts, and you'll see that the 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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Now you may find, if you really slice the ball, that instead of exiting just 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, where
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it was working so much outside in, that it was exiting very left.
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Or you may find that up 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 impact.
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You don't even want to try to guess how many degrees or recognize that if you slice the
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wall, and you have a big one video, it looks like the club is above the line, coming
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into impact and then below the line on the way through.
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And you think you said that pretty good, then you have an outside-in swing path, and you
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want to do things that create more 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.
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That includes the Jackson 5 or some access to it.
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That includes better sequencing or weight shift in the front.
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That includes not having any forward lunge.
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There's a number of different ways you can get about or get into shallowing the club.
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We cover a lot of those on the site because many golfers struggle with too much outside
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in and don't want to hit cuts the way Martin cybers doing it.
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So now if we jump over to the right, we have a right macroe, golfer who is known for hitting
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high towering draws with the driver, or at least they were back in some of his better driving
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So here we have a camera that is slightly closed.
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So this camera is pointing slightly to the left of his start line.
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So the center of the camera is actually angled a little bit that way.
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Which the more that you are out on the target line, so the more that you have the camera
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here angled back that way, it will tend to make the club look like it's more from the
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So this will exaggerate it just slightly.
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Opposite if you're more on the body line and shooting that way, it will tend to make
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the club look like it's steeper or more outside in.
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But just as what we saw with Martin cybers swinging more from the inside or from below
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to above with Roy, we're going to see more swinging from below.
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Sorry with Martin cybers we saw more from the above on the downside on the downswing
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to below on the follow-through with Roy.
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We're going 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 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, his hands
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are still working around to the left because he's had good body rotation and 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 out,
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I'd advocate trying to get the hands to work more up the plane line or up to the left from
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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 videos either related
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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 get a general
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Club finishing more up out in front versus down low and left versus a fade where it would
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finish at about the same point you can see that the club is lower and more to the left
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or about the same grip location you can see that the club was lower and more to the left.
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These are the classic ways if you're going to look at your path you want to do it
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from down the line.
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But I'm going to give you another strategy if you're a little bit more adventurous and
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really want 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 use the selfie stick on a tripod but if you have
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a buddy who can hold a selfie stick up above the golf ball so it's shooting down gives
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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 right here.
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Now if I go up and come down into the downswing you'll see that club is going to there's
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a little jump in the camera there but it's going to approach slightly from the inside
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and if you just kind of scrub back and forth, this ball was hit a little on the toe but
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you'll see a general path of the club slightly in, just 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 then working
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much quicker to the left and into out would be looking more like this and then 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 bottom and
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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 plane.
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So over on the right is a swing on taken from about that same time frame.
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It was fortunately this practice session I was only messing around with the overhead
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and I didn't have any down the line but this was taken about that same week or same time.
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And so what you'll see, the driving range has a slight upslip so the camera is angled
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with this slope but what you'll see is this had a little bit of a right red path so it was
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coming slightly from the inside and then pretty much following the hands and the club
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following that path through impact.
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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 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, you know, pretty in line with the back of the hands that usually works
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out to about the impact plane unless they have more of some style choices that create
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a very different looking.
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They're really vertical or really hands low impact position.
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Like in general you will see most golfers who have more of a neutral path will have
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the 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 like this
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one in order to account hitting less down on the ball with an iron it will tend to be slightly
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above the line to possibly even slightly below in the follow-through.
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So if you're working on your offseason plan and you hit hooks and you have more of a swing path
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that tends to look really low to high like this then you'd want to work on drills that
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would help with the more of the hook program on the site or the body rotation.
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Making sure you don't have early extension working on arm shallowing instead of body
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shallowing all those things.
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If you have an impact path that looks like this and you have a club that is coming from
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well high to low that's going to be a leftward path and you're either going to hit big
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poles or big slices.
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If you have that then you want to work through some of the arm shallowing the sequencing
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drills as well as earlier club face rotation, some of the follow-through check points.
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All of those will help you dialing your path to give you control of the ball flight in
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the way that you want.