Shea

In frame 7 the forward bend is closer to 20 degrees and a chunk of it comes from rounding the mid-back rather than a clean hip hinge — the chest sits back over the heels instead of over the toe line. Stance width is acceptable for a driver but not quite generous, and the knees carry usable flex. Set up by pushing the hips back until you feel the hamstrings, then let the arms drop; the handle will find its own height.

Feet and knees look coherent to the target line from behind and the ball sits forward enough for a driver, but the shoulder line cannot be judged from this camera. The bigger issue is the lack of a still, organized moment before the takeaway — the sampled frames show the body already trickling into motion with no settled pause. Build a two-second freeze after the last look at the target so the swing starts from a defined position.

The hands are too small in frame to read grip strength or face angle, so that checkpoint is off the card. What is visible is acceptable: the elbows stay soft in front of the chest at frame 7 and the hands hang with reasonable clearance from the thighs, with no visible squeezing or regripping. Nothing here is holding the swing back.

The clip begins after the club is already moving, so the one-piece move away and the early clubhead position relative to the hands simply are not on film. What can be read from the surrounding frames is that the lower body stays braced without a sway off the ball, and the wrists appear to set gradually rather than snapping up. Film a swing from the very first move so this section can actually be graded.

At frame 0 the chest has coiled maybe 70 degrees, not the 85-90 a driver wants, and the trail hip has not gained real depth behind you — the arms have carried more of the backswing than the pivot has. That shortfall is exactly why the downswing has to be aggressive to make up the distance. Head and spine stay reasonably centered, which is the part worth keeping; feel the trail glute move behind your heel as the chest turns.

In frame 0 the shaft sits on a workable rounded plane, but the hands finish shallow and low around (300,520) rather than high over the trail shoulder, so there is little width or depth behind the chest. The lead arm holds its structure, yet the position does not look fully loaded — it is a top the club has arrived at rather than one the body has built, which is why the transition relies on effort. Get the hands taller and deeper and the change of direction will feel unhurried.

Pressure does move to the lead foot and the lower body starts the change of direction rather than the shoulders spinning from the top, and the shaft holds its plane without an obvious over-the-top steepening. What breaks down is posture: between frames 7 and 10 the hips already start pushing toward the ball and the head begins to rise, so the swing loses its floor before the club has arrived. Keep the belt buckle down and the chest angle constant as the lower body starts down.

The trail heel releasing on time through frames 12-14 is genuinely good — nothing is planted flat after the ball is gone — and the rotation keeps flowing through the strike with no stall-and-flip. The pelvis leads, but only modestly ahead of the chest, and the wrist angles look partly spent before the delivery zone rather than held deep. More lag retention and a bigger gap between hip and chest rotation is the next gain here.

At frame 11 the hips are open and the weight is stacked left with the lead leg bracing, which is the right shape. But the head has climbed noticeably from its address height and the spine tilt has been given up — that stand-up is the single biggest fault in the swing, because it forces the arms to lift and re-find the ball. Hands look level with the clubhead rather than clearly leading; both problems improve once the pivot stops rising.

This is the best part of the swing. By frame 22 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 — held still, not rescued. The only reservation is that the overall motion still looks slightly effortful in the transition, as if the finish is earned by speed rather than by sequence; tidy the top and this finish will come from the pivot instead.