Jack

Frames 0-2 show a real athletic setup: the forward bend clearly comes from the hips with the chest out over the toes at roughly 30 degrees, and the stance is comfortably driver-width with the insteps outside the shoulders. The knee flex is present but sits a touch soft and back toward the heels rather than loaded mid-foot, and the handle is a shade high with the hands sitting close to the thighs. Push the shins forward slightly and let the handle drop an inch.

Face-on I can see the ball is teed forward of centre and the spine has a small tilt away from the target - but for a driver that tilt is smaller than it should be; the head is barely behind the ball at frame 1. That shallow tilt is a root cause of the drift you get later. The pre-shot stillness across frames 0-2 is excellent - no waggle, no foot shuffle, just an organized start.

The hands look unified on the handle with no visible separation and the lead wrist is flat at frame 1. Forearms are soft and in front of the chest, hands hanging roughly under the chin with sensible space. Nothing here is a fault; nothing here is tour-perfect either - the handle sits slightly high, which subtly encourages the arms to run the show. The calmness in the hands at address is genuinely good.

Frames 3-4 show the club, hands and chest starting back reasonably together - the triangle holds through the first foot or so. Face-on I cannot judge whether the head stays outside the hands or rolls inside, so that checkpoint is not scorable from this camera. What I can see is the lower body: by frame 4 the hips and upper centre have already begun sliding toward the target instead of staying braced. That is a sway, and it is the seed of everything downstream.

The chest does coil - by frames 6-7 the back is turned to the camera, which is a real turn. But the trail hip does not go behind you; instead the whole pelvis slides toward the target through frames 5-7, so depth is being replaced by lateral movement. Track the head from frame 0 to frame 7 and it moves visibly left and drops. Feel the trail glute move back and away while the head stays over the ball, and you will get the same coil without the drift.

The club and hands leave the top of the frame between frames 7 and 11, so shaft plane and hand height at the top simply cannot be judged from this clip - I will not guess them. What frame 10 does show is a lead arm holding its structure and a body position that is loaded enough to start down from the ground. It is not a rescue position, but the forward-drifted centre means less coil is stored than the turn suggests.

The lower body unmistakably starts the change of direction - between frames 11 and 12 the hips are opening while the club is still behind the head, with no shoulder spin or upper-body lunge. That is tour-quality sequencing at the top. Pressure is already forward, but that is partly because you drifted there during the backswing rather than shifting there in transition, so it earns functional rather than strong. Shaft plane in transition is not visible face-on.

This is the best part of the swing. At frame 12-13 the pelvis is clearly ahead of the chest, the trail heel is already off the ground and climbing, and rotation never stalls - frame 14 shows the body still turning hard through the strike with no hands-only flip. Wrist angle retention I can only partly read at frame 13; the hands look to be arriving slightly late relative to a very open chest, so there is some timing cost, but nothing is thrown from the top.

Frame 13 shows the hips clearly open with the lead leg bracing and weight stacked forward - that is real impact. The problem is the upper body: the head has been pulled up and forward compared to address, the spine tilt away from the target is largely gone, and you are standing taller through the strike than you were at frame 1. With a driver you need the head to stay behind the ball; losing that tilt is why the arms have to do timing work. Recover the tilt by fixing the backswing drift, not by

Nothing to change. Frames 18-23 show the chest and belt buckle facing the target, hips fully cleared, all the weight on a straight lead leg, and the trail foot released onto a vertical toe. You hold it still across six consecutive frames with no stumble, no step, no re-balance. The motion also looks unhurried for the amount of speed produced - roughly 10 frames back to 3 frames down is aggressive, and you still finish in control.