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Chipping Cheat Sheet Lower shot: - use a 9i or PW - hands high/up and forward at address - feet are a clubhead width apart - square to slightly open alignment - weight 70-80% forward - ball position off back foot Mid traj shot: - use a GW or...

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Andrew Rice

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181,508 просмотров • 7 месяцев назад •via X (Twitter)

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Chipping Cheat Sheet Lower shot: - use a 9i or PW - hands high and forward at address - feet are a clubhead width apart - square to slightly open alignment - weight 60-70% forward - ball position off back foot Mid traj shot: - use a GW or 54º - hands high and forward at address - feet are a clubhead width apart - square to slightly open alignment - weight 60-70% forward - ball position in center Higher shot: - use a SW or LW - hands high and over the ball at address - feet are a clubhead width apart - square to slightly open alignment - weight 60-70% forward - ball position inside front foot
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Chipping Cheat Sheet Lower shot: - use a 9i or PW - hands high and forward at address - feet are a clubhead width apart - square to slightly open alignment - weight 60-70% forward - ball position off back foot Mid traj shot: - use a GW or 54º - hands high and forward at address - feet are a clubhead width apart - square to slightly open alignment - weight 60-70% forward - ball position in center Higher shot: - use a SW or LW - hands high and over the ball at address - feet are a clubhead width apart - square to slightly open alignment - weight 60-70% forward - ball position inside front foot

Andrew Rice

387,070 просмотров • 1 год назад

Can only presume Jarred Gillet gives the free kick to #afcb because he feels Diarra has pulled him back?🙁minimal contact to say the least. I still think its a yellow for Adams. He plays the ball and then catches Xhaka on the follow through. Studs up slightly but he isn’t high.
0:19

Can only presume Jarred Gillet gives the free kick to #afcb because he feels Diarra has pulled him back?🙁minimal contact to say the least. I still think its a yellow for Adams. He plays the ball and then catches Xhaka on the follow through. Studs up slightly but he isn’t high.

Danny Collins

25,257 просмотров • 6 месяцев назад

Most people can’t hold a Reverse Plank because their nervous system doesn’t feel safe being that exposed. Collapsed shoulders and tight hips are postures of defense. This pose invites the body to leave that state. One minute a day can begin to reverse years of silent tension. If you want the fitness results you see in your mind to become real, you’ll need to teach your body how to relax first. Otherwise, forget the great transformation. You'll burn out before coming close to changing. At first, you may need to adjust the position or do shorter sets. You will notice slight improvements each time, whether it is strength, mobility, or endurance. One day, you will unlock the posture and feel much lighter within. Form Cues: - Hands shoulder-width apart, fingers pointing toward feet or slightly outward - Press palms firmly into the ground to engage shoulders - Lift hips in line with shoulders and heels - Squeeze glutes and push hips up, avoid letting them drop. - Keep legs straight and active, heels grounded - Draw shoulder blades down and together - Open the chest. - Gaze slightly upward or keep neck neutral - Breathe steadily, through the nose if possible - Hold tension evenly through arms, core, and legs Here are three adjustments you could make to ease into the Reverse Plank: 1. Bend the knees slightly - What it does: Reduces the load on tight hip flexors and stiff shoulders. - How to do it: Instead of keeping the legs fully straight, maintain a small bend at the knees and press through the heels. Focus on lifting the hips and opening the chest. 2. Use yoga blocks under the hands - What it does: Elevates the wrists and reduces wrist extension strain, especially for people with limited mobility or wrist pain. - How to do it: Place yoga blocks (or low, stable books) under your palms to give your shoulders more space and reduce the pressure on the wrists. 3. Turn the fingers outward slightly - What it does: Opens up tight shoulders and reduces internal rotation. - How to do it: Instead of pointing the fingers directly toward the feet, turn them slightly outward (about 30–45 degrees). This gives the shoulders more room to move and helps you stay open. You're not reading this by accident. Start using Reverse Planks to take your quality of life to the next level.
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Most people can’t hold a Reverse Plank because their nervous system doesn’t feel safe being that exposed. Collapsed shoulders and tight hips are postures of defense. This pose invites the body to leave that state. One minute a day can begin to reverse years of silent tension. If you want the fitness results you see in your mind to become real, you’ll need to teach your body how to relax first. Otherwise, forget the great transformation. You'll burn out before coming close to changing. At first, you may need to adjust the position or do shorter sets. You will notice slight improvements each time, whether it is strength, mobility, or endurance. One day, you will unlock the posture and feel much lighter within. Form Cues: - Hands shoulder-width apart, fingers pointing toward feet or slightly outward - Press palms firmly into the ground to engage shoulders - Lift hips in line with shoulders and heels - Squeeze glutes and push hips up, avoid letting them drop. - Keep legs straight and active, heels grounded - Draw shoulder blades down and together - Open the chest. - Gaze slightly upward or keep neck neutral - Breathe steadily, through the nose if possible - Hold tension evenly through arms, core, and legs Here are three adjustments you could make to ease into the Reverse Plank: 1. Bend the knees slightly - What it does: Reduces the load on tight hip flexors and stiff shoulders. - How to do it: Instead of keeping the legs fully straight, maintain a small bend at the knees and press through the heels. Focus on lifting the hips and opening the chest. 2. Use yoga blocks under the hands - What it does: Elevates the wrists and reduces wrist extension strain, especially for people with limited mobility or wrist pain. - How to do it: Place yoga blocks (or low, stable books) under your palms to give your shoulders more space and reduce the pressure on the wrists. 3. Turn the fingers outward slightly - What it does: Opens up tight shoulders and reduces internal rotation. - How to do it: Instead of pointing the fingers directly toward the feet, turn them slightly outward (about 30–45 degrees). This gives the shoulders more room to move and helps you stay open. You're not reading this by accident. Start using Reverse Planks to take your quality of life to the next level.

Alex Bernier

71,160 просмотров • 1 год назад

At some point when reviewing plays, the league should consider adding a speed threshold for anything involving the element of time. When you slow plays down to 1/100th the speed, it distorts what actually happened and makes it look like, in this case, Cooks possessed the ball for seconds prior to losing it. The game is not played in slow motion or frame by frame. For a catch: A) Secure control of the ball ✅ B) Two feet down in bounds ✅ C) After (a) and (b) have been fulfilled, clearly performs any act common to the game (e.g., extend the ball forward, take an additional step, tuck the ball away and turn upfield, or avoid or ward off an opponent), or he maintains control of the ball long enough to do so. C is where there is a judgement needed since A and B are clearly met. Now consider this note to the rule: If a player, who satisfied (a) and (b), but has not satisfied (c), contacts the ground and loses control of the ball, it is an incomplete pass if the ball hits the ground before he regains control, or if he regains control out of bounds. Because Cooks did lose control of the ball when he contacted the ground and the ball never contacted the ground, it was ruled an interception by Denver.
0:11

At some point when reviewing plays, the league should consider adding a speed threshold for anything involving the element of time. When you slow plays down to 1/100th the speed, it distorts what actually happened and makes it look like, in this case, Cooks possessed the ball for seconds prior to losing it. The game is not played in slow motion or frame by frame. For a catch: A) Secure control of the ball ✅ B) Two feet down in bounds ✅ C) After (a) and (b) have been fulfilled, clearly performs any act common to the game (e.g., extend the ball forward, take an additional step, tuck the ball away and turn upfield, or avoid or ward off an opponent), or he maintains control of the ball long enough to do so. C is where there is a judgement needed since A and B are clearly met. Now consider this note to the rule: If a player, who satisfied (a) and (b), but has not satisfied (c), contacts the ground and loses control of the ball, it is an incomplete pass if the ball hits the ground before he regains control, or if he regains control out of bounds. Because Cooks did lose control of the ball when he contacted the ground and the ball never contacted the ground, it was ruled an interception by Denver.

Gene Steratore

4,464,102 просмотров • 8 месяцев назад

Angel of the Gym, seedance prompt: Presented in the style of raw, handheld iPhone video footage, with all camera settings set to automatic, no post-processing color grading or special effects. The footage features slight hand-held shake and the operator's breathing sensation, occasional autofocus searching, delay, and brief loss of focus, automatic white balance switching between gym lighting and natural light. The image is flat overall, preserving real edge color fringing, slight overexposure, motion blur, and other optical imperfections. Only in-camera natural ambient sounds are used, including gym equipment sounds and faint air conditioning noise. Shot from a first-person handheld perspective, with natural reactive camera movements, occasionally slight swaying due to walking or adjusting angles. Medium and close-up compositions alternate, clearly showing the full body and action details of a plus-size Asian woman. Wearing the reference image of an elegant gold-embroidered long dress, she is exercising in the gym. She is wearing this formal dress, using cable machines and seated machines. At 0 seconds, the camera focuses on the woman from a medium shot, she is standing in front of the cable machine, hands gripping the handles ready to pull, the dress naturally flowing down. She slightly bows her head, quickly glancing at the camera with a hint of shyness. At 1 second, she starts pulling the cable with force, her body swaying back and forth, the sheer shoulder cape and skirt fluttering slightly with the movement. She frowns slightly as she exerts effort, occasionally looking up at the camera with a shy gaze. At 2 seconds, the woman continues pulling the machine, her movements accelerating, the dress fluttering with her body's sway. She looks up with a faint smile on her lips as she gazes at the camera. At 3 seconds, she stops pulling and walks to the nearby seated machine, sitting down, the dress swaying significantly with the movement. She lowers her head to adjust the hem and collar of the dress, her face showing a shy expression. At 4 seconds, she sits on the machine, leaning slightly forward, hands placed on her legs adjusting her posture. As she lowers her head to adjust her clothes, she looks at the camera with a shy gaze. At 5 seconds, she gently places her hands on her chest, slightly tilting her head up as she looks at the camera, a natural, slightly shy smile on her lips. At 6 seconds, she remains seated on the machine, looking at the camera with a soft gaze, a shy yet happy smile on her face, slightly adjusting her sitting posture. At 7 seconds, she stands up from the machine, the camera follows her movement, the dress fluttering slightly as she walks. She looks back at the camera with a shy and gentle smile. The footage presents a genuine, raw, handheld video quality with a documentary-level sense of natural imperfection, without any post-processing color grading or special effects. All camera behaviors conform to the physical characteristics of an iPhone being used in a gym.
0:15

Angel of the Gym, seedance prompt: Presented in the style of raw, handheld iPhone video footage, with all camera settings set to automatic, no post-processing color grading or special effects. The footage features slight hand-held shake and the operator's breathing sensation, occasional autofocus searching, delay, and brief loss of focus, automatic white balance switching between gym lighting and natural light. The image is flat overall, preserving real edge color fringing, slight overexposure, motion blur, and other optical imperfections. Only in-camera natural ambient sounds are used, including gym equipment sounds and faint air conditioning noise. Shot from a first-person handheld perspective, with natural reactive camera movements, occasionally slight swaying due to walking or adjusting angles. Medium and close-up compositions alternate, clearly showing the full body and action details of a plus-size Asian woman. Wearing the reference image of an elegant gold-embroidered long dress, she is exercising in the gym. She is wearing this formal dress, using cable machines and seated machines. At 0 seconds, the camera focuses on the woman from a medium shot, she is standing in front of the cable machine, hands gripping the handles ready to pull, the dress naturally flowing down. She slightly bows her head, quickly glancing at the camera with a hint of shyness. At 1 second, she starts pulling the cable with force, her body swaying back and forth, the sheer shoulder cape and skirt fluttering slightly with the movement. She frowns slightly as she exerts effort, occasionally looking up at the camera with a shy gaze. At 2 seconds, the woman continues pulling the machine, her movements accelerating, the dress fluttering with her body's sway. She looks up with a faint smile on her lips as she gazes at the camera. At 3 seconds, she stops pulling and walks to the nearby seated machine, sitting down, the dress swaying significantly with the movement. She lowers her head to adjust the hem and collar of the dress, her face showing a shy expression. At 4 seconds, she sits on the machine, leaning slightly forward, hands placed on her legs adjusting her posture. As she lowers her head to adjust her clothes, she looks at the camera with a shy gaze. At 5 seconds, she gently places her hands on her chest, slightly tilting her head up as she looks at the camera, a natural, slightly shy smile on her lips. At 6 seconds, she remains seated on the machine, looking at the camera with a soft gaze, a shy yet happy smile on her face, slightly adjusting her sitting posture. At 7 seconds, she stands up from the machine, the camera follows her movement, the dress fluttering slightly as she walks. She looks back at the camera with a shy and gentle smile. The footage presents a genuine, raw, handheld video quality with a documentary-level sense of natural imperfection, without any post-processing color grading or special effects. All camera behaviors conform to the physical characteristics of an iPhone being used in a gym.

John

61,102 просмотров • 4 месяцев назад

A lot of hitters confuse being late with letting the ball get deep. They’re not the same thing. In this video I show it with a simple example. I toss the ball and reach way out in front of me to catch it. That’s what late looks like. The ball already beat you… now you’re chasing it with your hands. Then I toss another one and catch it slightly behind me. That’s being on time and letting the ball get deep. When you’re late, your body and barrel are reacting after the ball passes your window. You’re forced to reach, cut across it, or roll it over. When you’re on time, you can let the ball travel and still control it. Now the barrel can stay through the zone longer, and you can drive it with authority. Deep ≠ late. Good hitters aren’t reaching for the ball… they’re on time enough to let it come to them. ⚾️ Train with an expert. Not an influencer.
0:15

A lot of hitters confuse being late with letting the ball get deep. They’re not the same thing. In this video I show it with a simple example. I toss the ball and reach way out in front of me to catch it. That’s what late looks like. The ball already beat you… now you’re chasing it with your hands. Then I toss another one and catch it slightly behind me. That’s being on time and letting the ball get deep. When you’re late, your body and barrel are reacting after the ball passes your window. You’re forced to reach, cut across it, or roll it over. When you’re on time, you can let the ball travel and still control it. Now the barrel can stay through the zone longer, and you can drive it with authority. Deep ≠ late. Good hitters aren’t reaching for the ball… they’re on time enough to let it come to them. ⚾️ Train with an expert. Not an influencer.

Stance Doctor

25,605 просмотров • 6 месяцев назад

MiniMax H3 Character Introduction Prompt: Use @[char ref] as the sole character reference. Preserve the exact identity, face, body proportions, hairstyle, outfit, colors, materials and overall silhouette of the character throughout the entire video. Do not redesign, simplify or replace any defining visual features. Create a cinematic character introduction focused on presence, silhouette, attitude and controlled motion. 0–4s Begin with a close shot of a defining lower-body or detail element such as boots, shoes, feet, hands, clothing hem or an important accessory. The character enters frame or settles into position. The camera slowly tracks upward while hair, clothing and secondary elements move naturally in the wind or environment. 4–8s Reveal more of the body with a medium or medium-wide shot from the back, side or three-quarter angle. The character stands in a calm, composed way inside the environment. The camera makes a smooth orbit, arc or lateral move to gradually reveal the character’s face and silhouette. 8–12s Move into a tight cinematic portrait or upper-body shot. The character performs one subtle signature action that fits their personality, such as lifting the chin, turning the head, adjusting clothing, brushing hair aside, opening a hand, looking toward camera, or shifting posture. Keep the motion minimal and intentional. The expression should match the character’s vibe. 12–15s End with a strong full-body hero shot that clearly presents the entire design and silhouette. Use a low-angle, eye-level or slightly dramatic framing depending on the character’s personality. The character settles into a natural final pose and holds it confidently for a clean final reveal. VISUAL DIRECTION Premium cinematic presentation. Match the visual medium and rendering style of @[char ref]. Emphasize clean silhouette, elegant staging, subtle secondary motion, believable hair and cloth movement, strong composition, atmospheric depth and polished lighting. The scene should feel like a high-end anime, game or film character introduction. CAMERA Use a clear progression from detail reveal to partial reveal to face reveal to full-body hero reveal. Camera movement should be smooth, controlled and intentional. Avoid chaotic motion. ENVIRONMENT Place the character in a fitting environment that supports their identity and mood. The background should enhance the character without distracting from them.
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MiniMax H3 Character Introduction Prompt: Use @[char ref] as the sole character reference. Preserve the exact identity, face, body proportions, hairstyle, outfit, colors, materials and overall silhouette of the character throughout the entire video. Do not redesign, simplify or replace any defining visual features. Create a cinematic character introduction focused on presence, silhouette, attitude and controlled motion. 0–4s Begin with a close shot of a defining lower-body or detail element such as boots, shoes, feet, hands, clothing hem or an important accessory. The character enters frame or settles into position. The camera slowly tracks upward while hair, clothing and secondary elements move naturally in the wind or environment. 4–8s Reveal more of the body with a medium or medium-wide shot from the back, side or three-quarter angle. The character stands in a calm, composed way inside the environment. The camera makes a smooth orbit, arc or lateral move to gradually reveal the character’s face and silhouette. 8–12s Move into a tight cinematic portrait or upper-body shot. The character performs one subtle signature action that fits their personality, such as lifting the chin, turning the head, adjusting clothing, brushing hair aside, opening a hand, looking toward camera, or shifting posture. Keep the motion minimal and intentional. The expression should match the character’s vibe. 12–15s End with a strong full-body hero shot that clearly presents the entire design and silhouette. Use a low-angle, eye-level or slightly dramatic framing depending on the character’s personality. The character settles into a natural final pose and holds it confidently for a clean final reveal. VISUAL DIRECTION Premium cinematic presentation. Match the visual medium and rendering style of @[char ref]. Emphasize clean silhouette, elegant staging, subtle secondary motion, believable hair and cloth movement, strong composition, atmospheric depth and polished lighting. The scene should feel like a high-end anime, game or film character introduction. CAMERA Use a clear progression from detail reveal to partial reveal to face reveal to full-body hero reveal. Camera movement should be smooth, controlled and intentional. Avoid chaotic motion. ENVIRONMENT Place the character in a fitting environment that supports their identity and mood. The background should enhance the character without distracting from them.

Kōda

109,433 просмотров • 1 месяц назад

Every step, every breath, every effort you put into your body is a celebration of what you're capable of becoming. Sadie Sink ✨ Video Made With Meta AI 🍃 Photos Made With AI Gemini Nano Banana Flash🍌 Prompt 👇 A young woman with fair skin and vibrant long red hair styled in a single braid resting over her right shoulder is sitting on an orange ribbed yoga mat in a fitness studio. She is performing a core exercise pose, balancing with her torso slightly leaned back, both legs bent and lifted off the mat with bare feet pointing forward, and both arms raised straight up high above her head with palms open and facing forward. She wears a fitted black short-sleeve athletic t-shirt and blue full-length leggings, and she has a bright, genuine smile showing her teeth while looking directly at the viewer. The studio background features white floor-to-ceiling curtains, a dark smooth floor, a long red padded bench to the left side, and black rectangular storage boxes or equipment to the right side. The lighting is bright and even, creating a clean, modern fitness environment with a positive, energetic atmosphere. High detail, realistic photography style, full body visible from head to feet.
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Every step, every breath, every effort you put into your body is a celebration of what you're capable of becoming. Sadie Sink ✨ Video Made With Meta AI 🍃 Photos Made With AI Gemini Nano Banana Flash🍌 Prompt 👇 A young woman with fair skin and vibrant long red hair styled in a single braid resting over her right shoulder is sitting on an orange ribbed yoga mat in a fitness studio. She is performing a core exercise pose, balancing with her torso slightly leaned back, both legs bent and lifted off the mat with bare feet pointing forward, and both arms raised straight up high above her head with palms open and facing forward. She wears a fitted black short-sleeve athletic t-shirt and blue full-length leggings, and she has a bright, genuine smile showing her teeth while looking directly at the viewer. The studio background features white floor-to-ceiling curtains, a dark smooth floor, a long red padded bench to the left side, and black rectangular storage boxes or equipment to the right side. The lighting is bright and even, creating a clean, modern fitness environment with a positive, energetic atmosphere. High detail, realistic photography style, full body visible from head to feet.

J⭕DIE

29,434 просмотров • 4 месяцев назад

Incline Smith Machine Press Tips: 1) Set the bench to roughly 15-30°….steeper angles generally increase front delt involvement and reduce pec involvement 2) Position yourself so the bar tracks toward the upper chest / lower clavicle region at the bottom of each rep 3) Retract and depress the shoulder blades (“chest up, shoulders down and back”) before unracking to set your base but allow scapula to move freely during the set 4) Keep feet planted firmly on the floor and maintain a stable base 5) Lower the bar under control until you come into contact with your chest (if you cannot do this without pain, just shy of chest is fine) 6) Allow the elbows to travel roughly 45-60° away from the torso…neither excessively tucked nor excessively flared 7) Keep wrists stacked directly over elbows throughout the rep 8) Avoid excessively bouncing the bar off the chest or relaxing at the bottom position 9) Use a grip width that allows the forearms to remain approximately vertical from the front view near the bottom of the rep 10) Full lockout is optional for hypertrophy…stopping just short of lockout can sometimes help maintain continuous tension 11) Control the eccentric and perform the concentric with intent and aggression while maintaining technique 12) If shoulder discomfort occurs, experiment with: - A lower incline angle - A slightly narrower grip - Bringing the touch point slightly lower on the chest - Reduced ROM The Smith machine’s fixed bar path will improve stability and allow greater focus on loading the target musculature close to failure safely….making it a strong hypertrophy option As always, ensure progressive overload is occurring on a regular basis!
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Incline Smith Machine Press Tips: 1) Set the bench to roughly 15-30°….steeper angles generally increase front delt involvement and reduce pec involvement 2) Position yourself so the bar tracks toward the upper chest / lower clavicle region at the bottom of each rep 3) Retract and depress the shoulder blades (“chest up, shoulders down and back”) before unracking to set your base but allow scapula to move freely during the set 4) Keep feet planted firmly on the floor and maintain a stable base 5) Lower the bar under control until you come into contact with your chest (if you cannot do this without pain, just shy of chest is fine) 6) Allow the elbows to travel roughly 45-60° away from the torso…neither excessively tucked nor excessively flared 7) Keep wrists stacked directly over elbows throughout the rep 8) Avoid excessively bouncing the bar off the chest or relaxing at the bottom position 9) Use a grip width that allows the forearms to remain approximately vertical from the front view near the bottom of the rep 10) Full lockout is optional for hypertrophy…stopping just short of lockout can sometimes help maintain continuous tension 11) Control the eccentric and perform the concentric with intent and aggression while maintaining technique 12) If shoulder discomfort occurs, experiment with: - A lower incline angle - A slightly narrower grip - Bringing the touch point slightly lower on the chest - Reduced ROM The Smith machine’s fixed bar path will improve stability and allow greater focus on loading the target musculature close to failure safely….making it a strong hypertrophy option As always, ensure progressive overload is occurring on a regular basis!

Dean Turner

44,032 просмотров • 3 месяцев назад

Pep Guardiola on the tactics board explaining how to exploit a double pivot by creating overloads in central areas. The key is positioning players between the lines while maintaining width through the half spaces, forcing the opposition to shift and protect one side of the pitch before attacking the space that opens on the opposite side. Those spaces can be through through dribbling or combinations. He then delivers perhaps the most important message when operating in dangerous areas: DESIRE TO SCORE. When you receive the ball close to goal, your first thought must be to hurt the opposition. Play forward. Attack the defender. Combine to penetrate. Shoot when the opportunity is there. Pick the ball up with the desire to score.
0:14

Pep Guardiola on the tactics board explaining how to exploit a double pivot by creating overloads in central areas. The key is positioning players between the lines while maintaining width through the half spaces, forcing the opposition to shift and protect one side of the pitch before attacking the space that opens on the opposite side. Those spaces can be through through dribbling or combinations. He then delivers perhaps the most important message when operating in dangerous areas: DESIRE TO SCORE. When you receive the ball close to goal, your first thought must be to hurt the opposition. Play forward. Attack the defender. Combine to penetrate. Shoot when the opportunity is there. Pick the ball up with the desire to score.

Keepitonthedeck

70,188 просмотров • 1 месяц назад

TYLRR HEINEMAN WITH FASTEST AVERAGE TRANSFER IN MLB This CS was .50 with a pop time of 1.86 & throwing velo of 75.8 Contrary to popular opinion, he does not catch the ball deep & take it up out of his glove. This is true of most all the better throwers, especially those with quick transfers. WHAT THE BEST DO 1) They make 1st contact close to full extension with the glove retreating into scap load as they are catching the pitch. This makes for a more rhythmic & tension free load. They do not catch the ball deep close to their chest protector. 2) The ball & glove separation occurs at the sternum or slightly below. 3) The ball is deflected/dropped/exchanged down out of the glove in to an open & supinated hand & not ripped up out out of the glove to a position behind the head.
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TYLRR HEINEMAN WITH FASTEST AVERAGE TRANSFER IN MLB This CS was .50 with a pop time of 1.86 & throwing velo of 75.8 Contrary to popular opinion, he does not catch the ball deep & take it up out of his glove. This is true of most all the better throwers, especially those with quick transfers. WHAT THE BEST DO 1) They make 1st contact close to full extension with the glove retreating into scap load as they are catching the pitch. This makes for a more rhythmic & tension free load. They do not catch the ball deep close to their chest protector. 2) The ball & glove separation occurs at the sternum or slightly below. 3) The ball is deflected/dropped/exchanged down out of the glove in to an open & supinated hand & not ripped up out out of the glove to a position behind the head.

Jerry Weinstein

19,779 просмотров • 8 месяцев назад

Was This a Stonewall Penalty? Breaking Down Khusanov’s Challenge on João Pedro The Positioning: Joao Pedro is in full control of the ball, driving into the Manchester City penalty box. Rather than trailing behind, Khusanov has actually recovered enough ground to get alongside and slightly ahead of Joao Pedro. Khusanov is cutting across Pedro's running path to get his body between the attacker and the ball. The Contact: In this exact moment, Khusanov is not pushing Joao Pedro in the back. Instead, Khusanov is leaning his body weight leftwards into Joao Pedro to shield the ball. It is actually Joao Pedro who has his left arm extended with his hand resting on Khusanov's back/shoulder area as they battle for position. In football, a defender is allowed to step across an attacker and use their body to shield the ball once they have established position, provided it is within playing distance of the ball. Since Khusanov is using his body to block the run and it's shoulder-to-shoulder (with Pedro's hand on him), this changes the dynamic completely from a "push." Looking at this specific angle, it looks much more like a standard physical battle where the defender successfully "boxes out" the attacker. Because Khusanov uses his body positioning legally to ease Pedro off the ball rather than illegally shoving him from behind, the referee’s decision not to award a penalty is the correct one.
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Was This a Stonewall Penalty? Breaking Down Khusanov’s Challenge on João Pedro The Positioning: Joao Pedro is in full control of the ball, driving into the Manchester City penalty box. Rather than trailing behind, Khusanov has actually recovered enough ground to get alongside and slightly ahead of Joao Pedro. Khusanov is cutting across Pedro's running path to get his body between the attacker and the ball. The Contact: In this exact moment, Khusanov is not pushing Joao Pedro in the back. Instead, Khusanov is leaning his body weight leftwards into Joao Pedro to shield the ball. It is actually Joao Pedro who has his left arm extended with his hand resting on Khusanov's back/shoulder area as they battle for position. In football, a defender is allowed to step across an attacker and use their body to shield the ball once they have established position, provided it is within playing distance of the ball. Since Khusanov is using his body to block the run and it's shoulder-to-shoulder (with Pedro's hand on him), this changes the dynamic completely from a "push." Looking at this specific angle, it looks much more like a standard physical battle where the defender successfully "boxes out" the attacker. Because Khusanov uses his body positioning legally to ease Pedro off the ball rather than illegally shoving him from behind, the referee’s decision not to award a penalty is the correct one.

Nuel

12,060 просмотров • 4 месяцев назад

Watch the difference in the practice swings and the shot. See the head dip & knee buckle? Have seen this from Lexi before. Can’t remember which major it was, but it was last season in the closing stages of the final round and tight lies. It’s a classic move from those who have anxiety with their pitching and are trying to help the ball in the air. I know it well. I had the chipping / pitching yips for a few years and was a complete mess. Head moving down & leaning back to the right shifts the low point of the club to an earlier spot. Club hits the ground too early. When you look at great pitchers they are usually shifting a little left, and slightly extending up after impact. Not dipping down and back. Imagine standing side on to the target and tossing to the landing spot with your trail arm. The dip down and knee buckle is completely at odds with how you would move. I am confident an expert short game coach could really help her with this. I reckon she is in the horrors mentally standing over these shots. No disrespect to Lexi, she’s obviously a great player. Yes, I’m just an armchair fan sitting on my couch 😎.
0:19

Watch the difference in the practice swings and the shot. See the head dip & knee buckle? Have seen this from Lexi before. Can’t remember which major it was, but it was last season in the closing stages of the final round and tight lies. It’s a classic move from those who have anxiety with their pitching and are trying to help the ball in the air. I know it well. I had the chipping / pitching yips for a few years and was a complete mess. Head moving down & leaning back to the right shifts the low point of the club to an earlier spot. Club hits the ground too early. When you look at great pitchers they are usually shifting a little left, and slightly extending up after impact. Not dipping down and back. Imagine standing side on to the target and tossing to the landing spot with your trail arm. The dip down and knee buckle is completely at odds with how you would move. I am confident an expert short game coach could really help her with this. I reckon she is in the horrors mentally standing over these shots. No disrespect to Lexi, she’s obviously a great player. Yes, I’m just an armchair fan sitting on my couch 😎.

Fit For Golf - Mike Carroll

4,076,743 просмотров • 3 лет назад

If order to hit a big league fastball your brain needs to decide to pull the trigger roughly 25 feet from the ball reaching the plate…. In order to do that, your eyes must be oriented at a spot 25 feet to your left for a righty or 25 feet to your right if you are a lefty…. This begs the question what is the point of hitting off of a tee?…The body will never work the same vs a live ball…. Look how different Mike Trout looks when hitting off of a tee vs hitting a live ball…Watch his left arm and left shoulder do completely different things. The right forearm supinates vs an overhand pitch but it pronates vs the tee…. It’s a function of where the biceps inserts onto the radius. There isn’t a hitter on earth that will use the same swing mechanics off of a tee as they will vs an overhand pitch.
0:16

If order to hit a big league fastball your brain needs to decide to pull the trigger roughly 25 feet from the ball reaching the plate…. In order to do that, your eyes must be oriented at a spot 25 feet to your left for a righty or 25 feet to your right if you are a lefty…. This begs the question what is the point of hitting off of a tee?…The body will never work the same vs a live ball…. Look how different Mike Trout looks when hitting off of a tee vs hitting a live ball…Watch his left arm and left shoulder do completely different things. The right forearm supinates vs an overhand pitch but it pronates vs the tee…. It’s a function of where the biceps inserts onto the radius. There isn’t a hitter on earth that will use the same swing mechanics off of a tee as they will vs an overhand pitch.

Prehension Athletics

24,813 просмотров • 7 месяцев назад

⚽️👇 Activity Instructions Below 🎨 Animation Created Using The Tactics App In this unopposed finishing drill, four players are positioned in a diamond shape on the edge of the penalty area. The drill focuses on quick passing combinations and movement to create shooting opportunities. Players work through various combinations, ensuring that all four players are involved in the build-up before a shot on goal. The ball is played between the players in different sequences, such as one-touch passes, wall passes, or quick give-and-go’s. After completing the combination, the player receiving the final ball takes a shot at goal. This drill emphasizes precise passing, movement off the ball, and clinical finishing.
0:13

⚽️👇 Activity Instructions Below 🎨 Animation Created Using The Tactics App In this unopposed finishing drill, four players are positioned in a diamond shape on the edge of the penalty area. The drill focuses on quick passing combinations and movement to create shooting opportunities. Players work through various combinations, ensuring that all four players are involved in the build-up before a shot on goal. The ball is played between the players in different sequences, such as one-touch passes, wall passes, or quick give-and-go’s. After completing the combination, the player receiving the final ball takes a shot at goal. This drill emphasizes precise passing, movement off the ball, and clinical finishing.

The Coaches Zone

25,764 просмотров • 2 месяцев назад

This took place at the Cincinnati Reds game. A home run ball got wedged just over the wall and the stands. The stands are a good four-five feet up from the wall. So this dad tells his son to lean over and then grabs him by the feet dangling him over the wall to get the ball. 😳 A stadiums employee comes down and grabs the dad by the arm and tells him to stop. 💯 Even the announcer laughs and says “that dude’s gonna’ sacrifice his son.” A couple of things- one, that’s a good way to get kicked out of the park. That dad knows he shouldn’t be doing that. Two, it’s just a baseball. I know it’s a home run ball but it’s worth nothing. Maybe sentimental value to look back and say remember when we got that homerun ball? I get it but it’s not worth it. What if his son slipped out of his hands? And the Beast in the backyard is probably going to chew that ball up anyway. Do you understand the fascination of trying to get these home run balls? Heck, think of the chaos for a foul ball- what’s that all about? It’s a just a foul ball. Why not go buy a MLB baseball in the souvenir shop?
0:17

This took place at the Cincinnati Reds game. A home run ball got wedged just over the wall and the stands. The stands are a good four-five feet up from the wall. So this dad tells his son to lean over and then grabs him by the feet dangling him over the wall to get the ball. 😳 A stadiums employee comes down and grabs the dad by the arm and tells him to stop. 💯 Even the announcer laughs and says “that dude’s gonna’ sacrifice his son.” A couple of things- one, that’s a good way to get kicked out of the park. That dad knows he shouldn’t be doing that. Two, it’s just a baseball. I know it’s a home run ball but it’s worth nothing. Maybe sentimental value to look back and say remember when we got that homerun ball? I get it but it’s not worth it. What if his son slipped out of his hands? And the Beast in the backyard is probably going to chew that ball up anyway. Do you understand the fascination of trying to get these home run balls? Heck, think of the chaos for a foul ball- what’s that all about? It’s a just a foul ball. Why not go buy a MLB baseball in the souvenir shop?

👉M-Û-R-Č-H👈

27,420 просмотров • 3 месяцев назад

Created with Gpt Image 2 + Seedance 2.0 on SJinn Agent Prompt: Create a high-quality 4K cinematic football (soccer) storyboard showing a full sequence from tackle to goal, using dynamic lighting, dramatic stadium atmosphere, and professional sports broadcast style. The scene begins with an intense midfield moment where a defender performs a strong sliding tackle, grass and dirt particles flying in slow motion as the ball is cleanly won. Transition immediately into a fast counterattack: the player recovers, pushes the ball forward, and accelerates past opponents with quick footwork. Show close-ups of boots striking the ball, sweat, and focused expressions, mixed with wide shots of the field opening up. Add a key pass moment where the ball is threaded through defenders, followed by a sprint toward goal with the crowd rising in anticipation. Build tension with a slow-motion approach to the penalty box, then a powerful shot on goal—either a clean strike or a curled finish. Show the ball hitting the net with dramatic impact, net rippling, and goalkeeper reaction. End with an emotional celebration: the scorer running, sliding, or raising arms as teammates join, stadium lights glowing and crowd erupting. Use varied camera angles (wide, tracking, close-up, POV, slow motion), strong motion blur, and realistic physics (ball spin, turf impact), emphasizing the shift from defensive intensity to attacking triumph and victory.
0:15

Created with Gpt Image 2 + Seedance 2.0 on SJinn Agent Prompt: Create a high-quality 4K cinematic football (soccer) storyboard showing a full sequence from tackle to goal, using dynamic lighting, dramatic stadium atmosphere, and professional sports broadcast style. The scene begins with an intense midfield moment where a defender performs a strong sliding tackle, grass and dirt particles flying in slow motion as the ball is cleanly won. Transition immediately into a fast counterattack: the player recovers, pushes the ball forward, and accelerates past opponents with quick footwork. Show close-ups of boots striking the ball, sweat, and focused expressions, mixed with wide shots of the field opening up. Add a key pass moment where the ball is threaded through defenders, followed by a sprint toward goal with the crowd rising in anticipation. Build tension with a slow-motion approach to the penalty box, then a powerful shot on goal—either a clean strike or a curled finish. Show the ball hitting the net with dramatic impact, net rippling, and goalkeeper reaction. End with an emotional celebration: the scorer running, sliding, or raising arms as teammates join, stadium lights glowing and crowd erupting. Use varied camera angles (wide, tracking, close-up, POV, slow motion), strong motion blur, and realistic physics (ball spin, turf impact), emphasizing the shift from defensive intensity to attacking triumph and victory.

Zara

61,393 просмотров • 4 месяцев назад

An Oldie but a Goldie. Approach ➜ Power V One of the biggest keys to a consistent swing is what happens from approach to Power V. As the knob turns toward the pitcher and into the path of the pitch, the barrel naturally falls behind your hands. We don’t need to flick it back to have it fall behind..DUH From there, don’t throw the barrel at the ball. Release it in the most direct line along the path of the pitch. Some pitches require a slightly steeper path. Others require a flatter one. But the goal stays the same: ✔️ Keep the barrel below your hands through extension. Approach = The barrel works to the side of the shoulder as the body turns toward the pitcher. Power V = The release of the lag and extension of the barrel through the baseball. Master that section of the swing, and you’ll give yourself a much better chance to create consistent contact, adjust to different pitch planes, and produce real power. Train with an expert, not an influencer.
0:12

An Oldie but a Goldie. Approach ➜ Power V One of the biggest keys to a consistent swing is what happens from approach to Power V. As the knob turns toward the pitcher and into the path of the pitch, the barrel naturally falls behind your hands. We don’t need to flick it back to have it fall behind..DUH From there, don’t throw the barrel at the ball. Release it in the most direct line along the path of the pitch. Some pitches require a slightly steeper path. Others require a flatter one. But the goal stays the same: ✔️ Keep the barrel below your hands through extension. Approach = The barrel works to the side of the shoulder as the body turns toward the pitcher. Power V = The release of the lag and extension of the barrel through the baseball. Master that section of the swing, and you’ll give yourself a much better chance to create consistent contact, adjust to different pitch planes, and produce real power. Train with an expert, not an influencer.

Stance Doctor

10,981 просмотров • 2 месяцев назад