Shane Van Boening's Break in Super Slow Motion

This doesn't even look like that good of a break from Shane. He pulls it to the left, and it doesnt even sit after the pop. When his break really works good it should stick in the middle of the table, and he stays down a bit longer before contact.

Still cool to see but he can do better.
 
The second view shows exactly where he is generating all of that power/speed and I have never seen anywhere close to that view of his break before at anywhere near that speed and thus had no idea what he was actually doing on his break shot with that back arm. That is freaking nuts, he is actually generating rotaional power by cocking his elbow in towards his body as it is dropping, all the while keeping the full drawn and then releasing all of that at the same instant as he strokes through the ball.

Pay specific attention to the elbow dropping and cocking in towards his body, and all the while the cuetip REMAINS fully drawn back and right in his bridge hand until about 0:40 when he lets all of that go through the cueball inside of a slo mo second. His elbow is actually brought back in line by his own body and it turns around it.

Chevybob mentioned a raquettball swing, he might be right, I have never played that game, it also has ALOT of similarites to this generation of insane power.

http://www.youtube.com/watch?v=k5X86nD_WS4

Pretty crazy.
 
Celtic said:
The second view shows exactly where he is generating all of that power/speed and I have never seen anywhere close to that view of his break before at anywhere near that speed and thus had no idea what he was actually doing on his break shot with that back arm. That is freaking nuts, he is actually generating rotaional power by cocking his elbow in towards his body as it is dropping, all the while keeping the full drawn and then releasing all of that at the same instant as he strokes through the ball.

Pay specific attention to the elbow dropping and cocking in towards his body, and all the while the cuetip REMAINS fully drawn back and right in his bridge hand until about 0:40 when he lets all of that go through the cueball inside of a slo mo second. His elbow is actually brought back in line by his own body and it turns around it.

Chevybob mentioned a raquettball swing, he might be right, I have never played that game, it also has ALOT of similarites to this generation of insane power.

http://www.youtube.com/watch?v=k5X86nD_WS4


Pretty crazy.
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There was a thread with a youtube video where Shane was saying his brake is like a normal stroke..or you stroke your brake shot just like you would any shot..its the follow throygh..just like a golf swing..he said he lines it up while hes down then lefts an pulls the triger...not in those exact words..its interesting watching an listening to the video..the video is 54 minutes..whoops just seen theres a link in your reply..hope its not what I was just going on about..lol.
 
i ried that break a few times in the past, the stand up and hit 'em. I cant time it right. I have horrible timing for things like that in general.:angry:


great video thanks
 
Fatboy said:
i ried that break a few times in the past, the stand up and hit 'em. I cant time it right. I have horrible timing for things like that in general.:angry:


great video thanks
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You must not have ever played baseball then :)
 
what i want to know is... what the HELL is so important that the guy in the middle of the shot in the second video is looking at when shane is about to break almost right in front of him
 
DogsPlayingPool said:
One thing I found interesting, and probably contributes to that huge transfer of energy into the stack, is that while the CB of course gets airborne, it comes back down at or just before contact with the one ball. So all the energy goes straight into the rack rather than having some of it go into the table as it would if the CB were still coming down at impact with the one.
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That's what I was noticing too, Dogs. With virtually no table drag, we could almost call that a "jump break" with amazing accuracy.
 
It's interesting to watch the level of his cue in relation to his body and where he is in the stroke. He starts to raise the back end of the cue immediately in his backstroke, continues raising it as he lifts his torso, then he stops raising it while the torso is still rising. Then it fires back down to level as he begins the forestroke. At tip/CB impact it almost appears that cue end is below the CB.

As mentioned earlier, I expected to see more rotation in his torso/shoulders, but you can see that the angle of his shoulders don't change AT ALL until well after impact with the CB.
 
bdorman said:
It's interesting to watch the level of his cue in relation to his body and where he is in the stroke. He starts to raise the back end of the cue immediately in his backstroke, continues raising it as he lifts his torso, then he stops raising it while the torso is still rising. Then it fires back down to level as he begins the forestroke. At tip/CB impact it almost appears that cue end is below the CB.

As mentioned earlier, I expected to see more rotation in his torso/shoulders, but you can see that the angle of his shoulders don't change AT ALL until well after impact with the CB.
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I can't figure that out. He raises the butt a lot but the cue comes through level (or slightly down) - why doesn't the tip come up after contact?
 
I agree with having the cueball fly from it's resting point in the air, to the bed of the cloth. This maximizes cue ball speed by eliminating with friction of the cloth. I used this technique for the last 15 yrs and it has always worked for me, by allowing me to eliminate Power from my break while emphasizing Accuracy.

Kinda of wished you never shared this, you just made everyone's life more difficult when playing players who learn this concept, but I jest of course, because it's good for everyone. Notice the wrist action from up to flat, then back up. This creates speed and control, while minimizing effort. I use the following rules to follow when creating this affect...
1) Always have the cueball hit the one while it flies over the distance to the one, and lands on the contact point of the cloth at the point of contact you are aiming on the one. This allows the cueball to pop up while minimizing elevating to do so.
2) The wrist action is the key to cue ball speed.
3) Have the back of the cue to move from up to down and level, then through and up with the cueball. This break demonstrates the perfect follow through. Most people instruct this incorrectly. The MIke Sigel and Johnny Archer break is great, but the follow through ending with the stick on the cloth is only the beginning of the end of the cue sticks journey. Notice how his cue ends up down and through the bed of the cloth, but ends finally up in the air following the cueball up. This creates the pop up of the cueball, while not using elevation to do so. So many players use elevation to create the pop up, but that minimizes cue ball speed. This is clearly the next generation of the greatest break possible. I have only seen one better than this. It is also important to notice his right wrist starts FIRM, then snaps LOOSE, then finishes FIRM with a tight wrist grip during the cue tip contact point of the cue ball. FIRM, LOOSE, FIRM = Power and Control.

Big Props to Shane...

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dwalding said:
Big Props to Shane...

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Mind if I touch that graphic up a little bit? Don't want to confuse SVB with Hollywood actors. Gleason, Cruise, Newman and others may have pretended to be billiard elites... and a few of them were actually pretty good at the game. But Shane is the real deal.
 

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dwalding said:
I agree with having the cueball fly from it's resting point in the air, to the bed of the cloth. This maximizes cue ball speed by eliminating with friction of the cloth.
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Actually, with any fast-speed shot (especially the break shot), the CB is airborne over much of the distance to the OB. The reason for this is the cue is not level on most shots, because it needs to clear over the rails. A small amount of speed is lost on the first jump right off the tip and every time the CB lands before hopping into the air again.

Flying the CB doesn't really give you more speed (because speed is lost on every hop including the first jump). Instead, the CB flies more if you use more cue speed. It is a cause and effect sort of thing.

FYI, this effect also happens with follow shots, again partly due to slight cue elevation, and party due to squirt (CB deflection) into the table.

For more info and video demonstrations of ball hop effects, see:
break shot CB squat and hop resource page
follow shot ball hop resource page

Enjoy,
Dave
 
I can't help but wonder what we'd see watching this over 10 or so different breaks, looking for variations?

Many thanks for posting this...great job!
 
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Stones said:
Thanks for the slo-mo.

I noticed a few things which I hadn't seen before.

First, of course, is the vertical rise of his upper body from aiming position to breaking position. I would say the rise is to put the body in a power position and to give clearance for his right arm and the cue to come through the shot in line.

Second, on his backswing, he pulls the cue so far back, the ferrule of the cue doesn't even show.

Third, and most important, his bridge hand is anchored to the table with a lot of downward pressure to the point it appears his knuckles are white. Also, I noticed that his bridge hand does not move at all until the cue has passed through his bridge hand well past the center joint on the cue.

Fourth, his eyes never leave his target point on the one ball until after the shot is gone.

If this kid keeps this up, he may turn into a player one day. LOL



Stones
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Check out his elbow and for arm , it looks like his for arm is not straight up and down in a pendulum swing or motion.
It looks like he has a slightly side arm.
I did notice his loose grip and he didn't twist the cue.
MMike
 
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