Tommy

The hip bend at frame 8 is close to ideal — roughly 30 degrees from the hip joints with the chest over the toes and a straight, un-slumped back, and the arms hang cleanly beneath the shoulders so the handle sits low. Stance is about shoulder width but for driver you could widen the insteps another inch or two for a wider base to turn against, and the knees look slightly soft/passive with pressure a touch heel-ward rather than firmly mid-foot.

Feet, knees and hips read as one coherent line and the shoulders roughly match them from this angle. The ball position is the issue: at frame 8 the ball sits well ahead of the clubhead but your sternum is essentially stacked over it with almost no spine tilt away from the target — for driver you want the ball off the lead heel with the trail shoulder visibly lower, which is what lets you hit up on it. You do settle into a still, organized address with no drifting feet before the takeaway.

Grip detail is hidden by the glove and the down-the-line angle so I won't guess at hand position on the handle. The hands hang nicely below the chin with correct spacing from the thighs — no crowding, no reaching. The forearms look slightly firm rather than soft, with the trail elbow a fraction high, and there is a visible waggle/regrip across frames 0-7 that suggests you're not fully settled until late.

At frame 9 the chest and arms move away reasonably together, but by frame 10 the clubhead has already worked inside and behind the hands rather than staying outside them — that early roll is why the club has to be lifted later to get to the top. The lower body stays quiet with no sway off the ball, which is good, and the wrists set progressively rather than snatching, but the face and path are already off-plane by the time the hands reach hip height.

This is the root of the swing's problems. By frame 13 the shoulders have turned maybe 70 degrees against a trail hip that has barely gained any depth — the belt line looks close to where it started, so the pivot isn't storing much. The head and spine stay centered with no slide or dip, which is a real positive, but the arms have clearly outrun the body: the hands are high while the chest is under-turned, which is the definition of a lift rather than a coil.

At frame 13 the shaft sits far closer to vertical than to the halfway-between-vertical-and-flat plane you want — a classic arm-lift signature. The hands finish high but not deep; they're above the trail shoulder rather than behind it, so you've traded width for height. The lead arm keeps decent structure and the wrists support the club without collapsing, and the position is balanced enough to start down from, but the load is in the arms, not the ground.

Between frames 13 and 15 the arms and hands are already dropping before there is any visible pressure move into the lead foot — the lead knee and hip haven't started to clear. The change of direction reads as an upper-body pull rather than a ground-up sequence, and the shaft at frame 15-16 comes down on or steeper than its backswing plane rather than shallowing. Posture and head height do hold through the transition with no early stand-up, which is worth keeping.

By frame 16 the hips have started to open ahead of the chest, so the sequence isn't reversed, but the gap between pelvis and chest is small — they're arriving nearly together, which costs you free speed. The trail heel is beginning to release at frame 17 rather than sitting flat, and some wrist angle is retained into the delivery zone, though not the deep lag of a strong player. What is genuinely excellent is that rotation never stalls: frames 17-21 show continuous body turn with no hands-flip r

The exact strike falls between frames 16 and 17, so I'm reading the frames either side. The hips are opening at frame 17 with the chest following, but the pelvis is less open than a good driver strike wants given how much time it had. Weight has moved to the lead side and the lead leg is bracing rather than collapsing. The head stays behind the ball and the spine tilt is broadly retained with no stand-up, though the near-zero setup tilt means you were never as far behind it as a driver needs. Sh

The best part of the swing. Frame 23 shows the chest and belt buckle facing the target with the hips fully cleared, all the weight on the lead leg, the trail foot released onto a vertical toe, and the whole position held still for a beat rather than recovered after a stagger. The only reservation is that the effort in the transition slightly exceeds what the pivot earned — the finish is better than the sequence that produced it.