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In this analysis video, we're going to take a look at analyzing swing plane on 2D.

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So I had a member ask a question about the different plane lines.

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So here are some people talk about the shaft plane that set up or what becomes the

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forearm plane or the shoulder plane.

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And basically which one should you use and what should you use 2D for when looking at

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swing plane?

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So in this video, I'm going to discuss how you can use 2D video to

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help you figure out what your swing path might be.

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And then factor that in so that you can understand how to set the camera up, what to look

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at when you're looking at videos on YouTube and how to make some general adjustments.

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So first, I'm going to advise that you don't draw any of these lines at setup.

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But I prefer doing is taking the swing to impact and then drawing the shaft plane.

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So that frame rate there is impact.

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So drawing the shaft plane at impact.

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So we'll do that with both.

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We're going to timer over here on the left and we're going to go right over there on

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the right.

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So this is going to be a little bit of a high impact and drew a line up the shaft and

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just extended it a little bit.

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Now this tells you that in order to really look at path, you're going to need an high

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enough frame rate in order to capture impact.

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So I would say minimal 120 frames per second, but if you want to be really safe somewhere above

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200 frames per second, we'll help you be able to see where the club is at impact.

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And the faster the shutter speed, if you can find cameras that have really fast either sport

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modes or do it with a lot of light, if you're using something like a smart phone, that

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way you'll be able to see the club hopefully clearly at impact.

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Now the more, so here we've got our baseline, our baseline is basically that line at impact.

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Now I recommend putting the camera parallel to the ground and in line with the back

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of the hands right there.

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If you are more on the target line, then that's going to skew it and we'll talk about that.

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And if you are more on the body line, that's going to skew it more in and out.

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But if your hands are pretty close to on this target line, you're going to have a relatively

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consistent reference in order to analyze the swing path.

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The other little thing is you have to understand that different camera angles will skew those

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numbers or skew the appearance.

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And in addition the height of the camera, so if it was angled down or angled up, or the

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distance away from the golfer.

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So if you really wanted to be consistent with looking at your own game, put the camera

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at the same height, the same angle, the same distance away, and you'd have a pretty accurate

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setup for being able to look at your individual swing path.

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Okay, now in general, if we draw the swing plane at impact, the more that the club is coming

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from above the line here, in the downswing, that's going to be a leftward path or outside

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in.

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And the more that the club is underneath the line here in the follow-through, that's

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going to be more of an outside impact.

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And that's necessary for hitting a cut shot.

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So here we have Martin Kimer, who hits primarily cuts, and you'll see that the club is slightly

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above that impact plane and then gets slightly underneath it on the way through.

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Now you may find, if you really slice the ball, that instead of exiting just below here,

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the club may be working around here, or even I've seen it as low as to the knees, where

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it was working so much outside in, that it was exiting very left.

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Or you may find that up here at the top, the club may be significantly above this line.

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That's going to tell you that you probably have a severe outside impact.

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You don't even want to try to guess how many degrees or recognize that if you slice the

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wall, and you have a big one video, it looks like the club is above the line, coming

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into impact and then below the line on the way through.

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And you think you said that pretty good, then you have an outside-in swing path, and you

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want to do things that create more of a shallowing in order to balance that out.

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That includes closing the face more with rotation.

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That includes arm shallowing.

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That includes the Jackson 5 or some access to it.

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That includes better sequencing or weight shift in the front.

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That includes not having any forward lunge.

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There's a number of different ways you can get about or get into shallowing the club.

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We cover a lot of those on the site because many golfers struggle with too much outside

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in and don't want to hit cuts the way Martin cybers doing it.

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So now if we jump over to the right, we have a right macroe, golfer who is known for hitting

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high towering draws with the driver, or at least they were back in some of his better driving

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days.

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So here we have a camera that is slightly closed.

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So this camera is pointing slightly to the left of his start line.

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Right.

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So the center of the camera is actually angled a little bit that way.

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Which the more that you are out on the target line, so the more that you have the camera

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here angled back that way, it will tend to make the club look like it's more from the

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inside.

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So this will exaggerate it just slightly.

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Opposite if you're more on the body line and shooting that way, it will tend to make

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the club look like it's steeper or more outside in.

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But just as what we saw with Martin cybers swinging more from the inside or from below

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to above with Roy, we're going to see more swinging from below.

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Sorry with Martin cybers we saw more from the above on the downside on the downswing

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to below on the follow-through with Roy.

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We're going to see more from below on the downswing to above on the follow-through.

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So here he is coming from below that line and then hitting it pretty much on that line

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and then going quickly up above.

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Now you'll notice that his hands, even though the club is working well above, his hands

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are still working around to the left because he's had good body rotation and good release

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mechanics, not really a major flip of the wrist.

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So even if you're going to have more of a draw path and have the club swinging out,

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I'd advocate trying to get the hands to work more up the plane line or up to the left from

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body rotation and a good solid release.

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And again we cover a lot of those topics on our site in varying different videos either related

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to the release or the body sequencing on the way through.

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But this would be a good idea or good model here as far as if you're trying to get a general

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draw shape.

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Club finishing more up out in front versus down low and left versus a fade where it would

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finish at about the same point you can see that the club is lower and more to the left

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or about the same grip location you can see that the club was lower and more to the left.

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These are the classic ways if you're going to look at your path you want to do it

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from down the line.

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But I'm going to give you another strategy if you're a little bit more adventurous and

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really want to get a good handle on your path.

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So one way that you can get a good sense of your path is what I did here.

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You can actually see from the shadow I just use the selfie stick on a tripod but if you have

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a buddy who can hold a selfie stick up above the golf ball so it's shooting down gives

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you a really good approximation of the path.

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So this line here is representing the target line and you see I drew a line right here.

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Now if I go up and come down into the downswing you'll see that club is going to there's

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a little jump in the camera there but it's going to approach slightly from the inside

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and if you just kind of scrub back and forth, this ball was hit a little on the toe but

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you'll see a general path of the club slightly in, just slightly in.

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Now I typically have fairly neutral path numbers.

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What you would see is a outside in path would look probably more like this and then working

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much quicker to the left and into out would be looking more like this and then look like

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it would go pretty straight longer.

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A neutral path will tend to have almost a symmetric curve to it down at the bottom and

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that's what you would see from a down the line angle.

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You would see that as a club that looked like it was following that impact plane.

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So over on the right is a swing on taken from about that same time frame.

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It was fortunately this practice session I was only messing around with the overhead

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and I didn't have any down the line but this was taken about that same week or same time.

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And so what you'll see, the driving range has a slight upslip so the camera is angled

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with this slope but what you'll see is this had a little bit of a right red path so it was

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coming slightly from the inside and then pretty much following the hands and the club

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following that path through impact.

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That would look fairly symmetric like we're seeing here.

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Now if I take that all the way back to setup you'll see a rough, really rough approximation

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is you'll put it through about the point of the right elbow.

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If you're in line, you know, pretty in line with the back of the hands that usually works

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out to about the impact plane unless they have more of some style choices that create

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a very different looking.

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They're really vertical or really hands low impact position.

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Like in general you will see most golfers who have more of a neutral path will have

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the club roughly following that line.

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With the driver it will be slightly more into out or from low to high, kind of like this

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one in order to account hitting less down on the ball with an iron it will tend to be slightly

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above the line to possibly even slightly below in the follow-through.

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So if you're working on your offseason plan and you hit hooks and you have more of a swing path

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that tends to look really low to high like this then you'd want to work on drills that

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would help with the more of the hook program on the site or the body rotation.

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Making sure you don't have early extension working on arm shallowing instead of body

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shallowing all those things.

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If you have an impact path that looks like this and you have a club that is coming from

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well high to low that's going to be a leftward path and you're either going to hit big

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poles or big slices.

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If you have that then you want to work through some of the arm shallowing the sequencing

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drills as well as earlier club face rotation, some of the follow-through check points.

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All of those will help you dialing your path to give you control of the ball flight in

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the way that you want.