Chris Barletta

The best part of the swing. At frame 8 the forward bend is roughly 30-35 degrees out of the hips with the chest over the toes, the stance is comfortably driver-width, and the knees hold athletic flex with pressure through the middle of the foot. The arms hang close to under the shoulders but the handle sits fractionally high and the trail arm looks a touch reached across — soften that and the hands sit even quieter.

Feet, knees and hips read as one line pointing up the fairway from this angle, and the shoulders sit close to that line — close enough to work, but the trail shoulder looks marginally high and out rather than clearly under. Ball position and spine tilt away from the target cannot be judged from behind. The setup itself is still and organized: eleven frames at address with no drifting feet is a genuinely settled pre-shot.

The hands look unified on the handle with no visible separation, and the forearms stay reasonably soft, though the trail elbow sits a little straight rather than folded and connected to the chest. Hands hang about the right distance from the thighs — not crowded, not reaching. Nothing tense or fidgety across frames 0-11; the grip pressure looks calm and repeated, which is worth keeping.

By frame 12 the chest and arms have moved away together reasonably well and the lower body has stayed braced without a sway off the ball. The clubhead is already high and out of frame at the sampled interval, so early face-to-spine match cannot be judged. The wrist set is the issue — the club is already up near y=490 with the hands only at chest height in frame 12, which is an abrupt early hinge rather than a progressive set.

This is the root of the swing's problems. At frames 13-15 the shoulders turn well short of a full 80-90 degree coil and, more importantly, the trail hip stays close to where it started rather than working behind you and gaining depth — the belt line barely changes from address. The head and spine do stay centered, which is a credit. But the arms outrun the body: the club is lifted upward instead of swinging around the chest, so the top looks big while the coil underneath it is small.

At frame 15 the shaft stands almost vertical over the left of the frame instead of lying on a rounded plane halfway between vertical and flat — that is the signature of an arm lift. The hands finish high but shallow, in front of rather than behind the trail shoulder, so there is no width or depth to trade for speed. The lead arm keeps its structure and the wrists support the club, which is why the club still gets back to the ball. The top is not loaded from the ground; it is stacked in the arms,

Between frames 15 and 16 the club comes down before there is any visible pressure change into the lead foot — the lower body looks essentially where it was at the top while the arms and shoulders begin the move. That order steepens the shaft rather than shallowing it, which is exactly what you would predict from an upright top. Posture and head height do hold through the change of direction with no early stand-up, so the fix is sequence, not stability.

The pelvis is not leading. By frame 17 the hips are only slightly open while the chest has already come along with them, so there is no separation to hit against. The trail heel is still low and largely planted through the strike — rotation is not pulling it up, the arms are just swinging past it. The wrist angles are held reasonably deep into delivery and rotation does keep flowing rather than stalling into a flip, which is why the strike still has speed.

At frame 17 the hips are only marginally open to the target with the chest close behind them — the body is square when it should be clearing, which forces the arms to deliver everything. Weight has moved to the lead side and the lead leg is bracing, though not fully posted. Head position behind the ball and shaft lean at the strike cannot be judged from this down-the-line angle; get a face-on clip for those.

The finish is a real strength. By frame 22 the chest and belt are pointing down the fairway, though the hips could clear another few degrees to fully unwind. Weight is on the lead leg with the trail foot up, but the trail toe is not quite vertical — a remnant of that heel staying down through impact. The balance is genuinely good: the position is arrived at cleanly and held still across frames 21-23, and the whole motion looks committed and unhurried rather than lunged at.