Drawing Lines for Video Instruction
 

I am looking for info on where to draw lines on the picture during a video analysis with the student. I know 10-6 talks about the five different plane variations, and 7-6 teaches us that the clubshaft must start its journey the plane of its address angle.

From the down the line view, I currently draw a line from the hosel of the club up through the student's clubshaft, and draw another line from the inside aft quadrant of the ball through the right shoulder for Turned Shoulder Plane. Again, I realize the plane at the top can change, but I like to adhere to Mr. Kelley's advice and Yoda's advice to get the hands and #3 p.p. on the Turned Shoulder Plane at the top of the backswing.

My questions are from where do you draw these lines? Do you draw them both from the hosel, both from the inside aft quadrant of the ball, or somewhere else? I also know you can draw another line for the elbow plane. Which lines do you all use and how do you draw them? What about the face-on view as well?

Any advice would be greatly appreciated and I look forward to the discussion.

Hi GSanders,

I use video a little bit, but I'm not a big line drawer. In my opinion, the key is consistency. Try to keep the camera constant with your student from lesson to lesson. If you are comparing to a Tour Swing, make sure you are using angles as close as possible between the two swings.

Michael Breed actually wrote an excellent book on the subject...

I am really looking forward to responses from other teachers as to what they do. I would love to become more skilled in this area.

Sorry I'm not more help, great question!

Kevin

The most important part is having a proper camera setup, if not you may not be seeing what is really taking place.

A few lines I like to use....

Hands at top to hands at impact

Right shoulder at top to ball

Re: the first, no matter how you have taken the club back, that is really the 'plane' that matters. Not that the backswing isn't important. If you then go back to address with that line in place, you can see where PP#1 travels through the motion.

Why #1 specifically Edz? Cross line Thrust either passive or active? As opposed to #3 Tracing? I dunno.

If you have a good camera angle, #1 lets you see what is happening both for plane, and for startup (swivel or not). Specifically if the startup swivel is on plane or not (if being used).

When you say "on plane" am I right in thinking you mean the path of the hands or specifically the #1pp vis a vis the Hand Path you delineated previously from Top to Impact?

Do you prefer that analytically to the Shaft/ Sweet Spot Plane? Or do you consider them both?

Interesting, thanks

Camera setup is so key, like EdZ stated.

I also think this is a fantastic camera angle to use with golfers.

http://www.youtube.com/watch?v=rQ3iuhfJaEI




3JACK

Kevin,

Thanks for your prompt response and I appreciate the input from everyone else as well. Camera angles absolutely are of utmost importance. Without their proper alignments, you can receive a false reading on plane angles, etc.

I use a three camera system (down-the-line, face-on, and overhead) and have all three cameras fixed and on plane to the target. Having taught a lot with video since 2001, and one year into my journey with TGM, I wondered if there were certain places to draw lines as reference points and how they are used to better instruct students.

Again I appreciate your help, and I look forward to more discussion on this matter.

Stay Warm,

Curt Sanders

Curt,

Sounds like you have a FANTASTIC system! That would be a blast to work with. My inexperience in that area really shows with my original reply. You were looking for a far more advanced answer than I am capable of. I had forgotten who you were already, very advanced "newbie". :laughing9 Hopefully we will hear more, I have been very interested in Ed's answers!

Have a great day Curt! :salut:

:golf:

Kevin

I personally do, yes. That said, you of course have to see what the shaft is doing, as well as sweet spot motion/rotation. Very few can have a good hand path without a good shaft/sweetspot plane and get away with it, and basically nobody can get away with it on the downswing.

Ray Floyd comes to mind re: backswing.

All of that said, a good argument can be made that if the camera is correct, all that matters is the sweetspot in an uncompensated motion.

Perhaps Ted and Jeff will chime in as well, as I know they'd both have good insights into their preferences.