LRG

At frame 2 the forward bend is there but shallow — your chest sits fairly upright over the toes rather than the club-length hip hinge a driver wants, and the knee flex is light. Stance is about shoulder width, acceptable for a driver but not the wider base that supports a big turn. The arms are the best part: they hang cleanly beneath the shoulders with the handle low and relaxed.

Feet and hips read as one line down the mat and the shoulders roughly match. The ball position is the problem: with the ball at roughly x=630 and your sternum at about x=470, the ball is forward, but at frame 2 there is almost no spine tilt away from the target — you look level rather than tilted behind the ball, which is what forces the steep, downward hit later. The still, organized moment before the takeaway is exactly right.

The hands look unified on the handle at frames 0-2 though the camera hides the face and grip strength enough that I can only call it neutral-looking, not confirmed. Forearms are soft and connected in front of the chest, the hands hang comfortably under the chin with good space, and there is no visible squeezing or regripping. Nothing to change here.

By frame 3 the hands have moved noticeably while the chest has barely turned — the club is being picked up by the arms rather than moving away in one piece with the torso. The clubhead is off-frame to the left so I cannot judge whether it stayed outside the hands. The lower body stays quiet, which is good, but the wrists hinge abruptly early rather than setting progressively as the arms rise.

At frames 6-9 the shoulders have turned perhaps 60-70 degrees at best and the trail hip never gains depth — the belt line stays close to square while the arms climb. The head stays reasonably centered, which is a credit. But the arms are lifted almost straight up rather than swinging around the body: at frame 6 the shaft points near-vertical at the sky while the hands sit no higher than the shoulder. That disconnect between arms and turn is the root fault in this swing.

The shaft at frames 6-9 stands almost straight up rather than lying on a rounded plane halfway between vertical and flat — a textbook arm lift. The hands finish over the trail shoulder but with no depth behind the chest, so there is width in the wrong direction. The lead arm holds its structure and the wrists support the club, which is the one thing keeping this workable. The top looks lifted, not loaded — the downswing cannot start from the ground because nothing is coiled.

Between frames 9 and 10 there is a visible move into the lead foot and the lower body does start the change of direction rather than the shoulders spinning first — credit for that. But from a vertical shaft there is nothing to shallow: the club stays steep coming down and arrives at the ball on a descending, arm-driven path. Worse, compare head height at frame 2 with frame 11 — the head has dropped several ruler units and the torso has moved toward the ball line, a dive rather than a held postur

The pelvis does not clearly lead — at frame 11 the belt line is barely ahead of the chest, so the chest and arms are arriving together and the hands must supply everything. The trail heel is releasing by frame 12, which is correct. Wrist angle is largely spent by the delivery zone because the steep top gives you nothing to hold. Rotation does keep flowing past the ball into frames 12-13 rather than stalling, and that is why the release looks as free as it does.

At frame 11 the hips are only slightly open — the belt line still points close to the ball line while your chest is nearly there with it, meaning the arms deliver the club rather than the body. Weight has shifted to the lead side and the lead leg is bracing. The head, however, has dropped and moved toward the ball versus address, so the spine tilt behind the ball is lost — that is the cause of inconsistent driver contact. Hands look level with the head of the club through the strike, not scooped

This is the best part of the swing. By frame 18 the chest and belt buckle face the target with the hips fully cleared, the weight is entirely on the lead leg, and the trail foot is up on a vertical toe. You arrive balanced and hold it still through frames 17-19 with no stumble or step. The one reservation: the effort you put into the down-move outruns the coil you built, so the motion looks harder than the positions justify.