Contact Point Offset Aiming

Patrick Johnson

Fish of the Day
Silver Member
If you're lucky enough to easily visualize the OB Contact Point, then you have the most direct aiming reference for any shot, automatically adjusted to the needed cut angle. My ultra-simple way of using it is to just notice how far my tip is pointed from it (the Contact Point Offset) for each cut angle and let my subconscious take care of cataloging and recalling that shot picture as needed.

I've learned to recognize offsets for shots with and without side spin, but it might be best at first to "measure" the cut with center ball and then adjust for spin effects.

In addition to working directly with the OB contact point, I like the fact that this method keeps me aware of exactly where my stick/stroke is pointed in relation to the OB (and helps me notice/correct stroke flaws when they creep in).

Of course there's a strong similarity between this method and "double offset" aiming. The difference with that method is that I skip the steps of visualizing the OB's center and estimating the distance from it to the contact point - I go directly to the last step of offsetting the tip from the contact point.

Like all methods/systems, this requires learning to recognize "shot pictures" through rote repetitive practice with the help of the method's "reference(s)". I don't believe it relies on more or less estimation/feel than other systems - how well it "works" for you depends on how well suited its methodology is to your personal skills/mindset.

pj
chgo
 

Imac007

AzB Silver Member
Silver Member
Adding the CB contact point has benefits

If you're lucky enough to easily visualize the OB Contact Point, then you have the most direct aiming reference for any shot, automatically adjusted to the needed cut angle. My ultra-simple way of using it is to just notice how far my tip is pointed from it (the Contact Point Offset) for each cut angle and let my subconscious take care of cataloging and recalling that shot picture as needed.

I've learned to recognize offsets for shots with and without side spin, but it might be best at first to "measure" the cut with center ball and then adjust for spin effects.

In addition to working directly with the OB contact point, I like the fact that this method keeps me aware of exactly where my stick/stroke is pointed in relation to the OB (and helps me notice/correct stroke flaws when they creep in).

Of course there's a strong similarity between this method and "double offset" aiming. The difference with that method is that I skip the steps of visualizing the OB's center and estimating the distance from it to the contact point - I go directly to the last step of offsetting the tip from the contact point.

Like all methods/systems, this requires learning to recognize "shot pictures" through rote repetitive practice with the help of the method's "reference(s)". I don't believe it relies on more or less estimation/feel than other systems - how well it "works" for you depends on how well suited its methodology is to your personal skills/mindset.

pj
chgo

When I was learning to play I asked a local player how to aim. The simple answer I got started with a single ball. The farthest point on the ball from the pocket is in line with the ball center. Cueing on that line towards the pocket through the ball sent the ball into the pocket. That farthest point is the contact point. Next a package of paper matches was torn into sticks. Matches were arranged at 90° to the rail, around the table edge. The match heads just barely peeked out over the rail edge. The idea was to hit each match head directly from various angles. Directly meant that the match was driven along the 90° line the match started. Once you can hit those match heads consistently go back to the object ball. The contact point is the same as the match head.

For years I just hit the match heads. After looking more closely at parallel aiming some things about the relationship of the cue ball cp and object ball cp became evident.

Only one point on the cue ball can contact the object ball contact point.

If you draw a line from the cue ball contact point to the object ball contact point that line is parallel to the line from the cue ball center to the ghost ball center.

Putting your cue aligned from contact point to contact point and parallel shifting to cb center takes you to the ghost ball aim line.

Adding the cue ball cp to the match head cp added a perspective.

Seeing that perspective from above the balls when balls are close together helps align those shots.

Sensing the cue ball cp additionally has advantages on several shots.

Dead straight in shots. Focusing on the front of the cue ball contact point when aligning to the object ball centers has an interesting effect. The tendency for many is to hit at the face of the ball. Moving focus to the ball front encourages a straighter stroke with a better finish.

Blocked cue ball face shots. The front of the ball, on makable shots, is never blocked. On shots where the face of the cue ball is against the rail or partly blocked by a ball, being able to sense the cb front of ball contact is an advantage.

Today parallel aiming combined with gearing english or the use of convergent inside english let me align contact point to contact point regardless of shot length. Most of my position angle modifications beyond that are accomplished with height contact through the cue ball. Special circumstances, of course, require other specialty shots.

For years sensing the ob contact point was my goto method. Adding the cue ball contact point now avoids some adjustment errors. Earlier I mentioned that each contact point only has a single corresponding contact point on the other ball. It is easy to get down and realize that you need to cut the ball a little more or less. Often a minor tip adjustment is made without a like bridge location move. When our mind is on the contact point alone, we sense the contact point being a bit left or right of where we are pointed. It’s so easy to just point the cue slightly left or right to compensate. Part of the problem is that aiming through the cb center we don’t realize the contact points can never contact one another on a plane parallel to the adjusted cue line. Two adjustments are needed, not one. By starting with a line joining the contact points the only needed adjustments are to return the cue to parallel planes if moved off line during getting down on the shot.
 
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goettlicher

AzB Silver Member
Silver Member
If you're lucky enough to easily visualize the OB Contact Point, then you have the most direct aiming reference for any shot, automatically adjusted to the needed cut angle. My ultra-simple way of using it is to just notice how far my tip is pointed from it (the Contact Point Offset) for each cut angle and let my subconscious take care of cataloging and recalling that shot picture as needed.

I've learned to recognize offsets for shots with and without side spin, but it might be best at first to "measure" the cut with center ball and then adjust for spin effects.

In addition to working directly with the OB contact point, I like the fact that this method keeps me aware of exactly where my stick/stroke is pointed in relation to the OB (and helps me notice/correct stroke flaws when they creep in).

Of course there's a strong similarity between this method and "double offset" aiming. The difference with that method is that I skip the steps of visualizing the OB's center and estimating the distance from it to the contact point - I go directly to the last step of offsetting the tip from the contact point.

Like all methods/systems, this requires learning to recognize "shot pictures" through rote repetitive practice with the help of the method's "reference(s)". I don't believe it relies on more or less estimation/feel than other systems - how well it "works" for you depends on how well suited its methodology is to your personal skills/mindset.

pj
chgo



We teach that every day.

randyg
 

Patrick Johnson

Fish of the Day
Silver Member
We teach that every day.
I’m not surprised (great minds). I like it’s simplicity and directness. If you can visualize the OBCP and see where your stick/stroke is pointed, the distance between them is an obvious visible “metric” to use.

pj
chgo
 

Buzzard II

AzB Silver Member
Silver Member
I'd like to see this explored more. I had a full day lesson with Randy a few years ago on off-set aiming and it just did not take. I am a very visual/concrete thinker. Strangely enough the off set for cutting the OB frozen to the rail did work and I use it regularly. I guess because the rail is always the same distance from COB.

D
Should I just practice a given off set for a know angle cut? 7-15-30-45-60?
 

Patrick Johnson

Fish of the Day
Silver Member
I'd like to see this explored more. I had a full day lesson with Randy a few years ago on off-set aiming and it just did not take. I am a very visual/concrete thinker. Strangely enough the off set for cutting the OB frozen to the rail did work and I use it regularly. I guess because the rail is always the same distance from COB.

D
Should I just practice a given off set for a know angle cut? 7-15-30-45-60?
You’re right that, like all aiming methods, it takes practice - but I’m sorry I don’t know of any particular drills to recommend for it other than shooting lots of shots.

pj
chgo
 

Patrick Johnson

Fish of the Day
Silver Member
In case my description doesn't make it clear for you, here's a diagram.

pj
chgo

Aiming My Way.jpg
 
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Kdogster

Registered
straight-in shots

Dead straight in shots. Focusing on the front of the cue ball contact point when aligning to the object ball centers has an interesting effect. The tendency for many is to hit at the face of the ball. Moving focus to the ball front encourages a straighter stroke with a better finish.

Your point about straight in shots caught my eye because I struggle with these shots. They should be the easy ones, but I like to rattle them in the pockets occasionally!

Are you saying it helps to think about the front of the CB instead of aiming at a particular spot on OB? If so, I think it's hard to think about front of CB since it's hidden when you're down on the shot. I know the Joe Tucker aiming method system uses this concept of thinking about front of CB, and I find this challenging. Is that the idea, though?

When the balls are not quite dead straight-in, what has been helping me is to align the shot as if it were straight in and then pivot the cue a tick or two for the slight cut. In that case, I don't even aim at a spot on OB, I'm just trying to get a tiny bit of cut. I can't perceive the actual amount of cut with my eyes, but I know it is going to cut a little. On a long shot, this tiny bit of cut can translate to a lot of deviation from the straight line.
 

Imac007

AzB Silver Member
Silver Member
Your point about straight in shots caught my eye because I struggle with these shots. They should be the easy ones, but I like to rattle them in the pockets occasionally!

Are you saying it helps to think about the front of the CB instead of aiming at a particular spot on OB? If so, I think it's hard to think about front of CB since it's hidden when you're down on the shot. I know the Joe Tucker aiming method system uses this concept of thinking about front of CB, and I find this challenging. Is that the idea, though?

When the balls are not quite dead straight-in, what has been helping me is to align the shot as if it were straight in and then pivot the cue a tick or two for the slight cut. In that case, I don't even aim at a spot on OB, I'm just trying to get a tiny bit of cut. I can't perceive the actual amount of cut with my eyes, but I know it is going to cut a little. On a long shot, this tiny bit of cut can translate to a lot of deviation from the straight line.

Thanks for reading my comment.
An analogy comes to mind. When new drivers take the wheel for the first time they are easily overwhelmed. Gauges, pedals, levers and the steering wheel are a lot to integrate. Then turning the key and putting the car in gear sets it in motion. Attention goes through the windshield, over the hood to the immediate road. The tendency is to steer, rather than adjust, to keep on a straight course. Horizon sighting brings focus onto a distant target and we learn to avoid the over the hood over steer problem.

In sport there is a concept called ball bound. Getting fixated on a ball takes attention away from the larger picture, similar to the over the hood problem.

It has been estimated that over 90% of aiming is completed while standing by experts. You can sense the line of the shot from cb to ob while standing. The front of the cb is largely visible while standing connecting the two contact points on the straight in shot, as a felt sense, seems to help align better than getting “ball bound” on cb center. Teaching this, contact point connection sense, to the local billiard academy founder, was a revelation to him. After a few shots he commented that his awareness of the face of the ball disappeared. Ball after ball went straight in. There is a major advantage to shooting straight in shots when the cb is close to the rail.

What was suggested was similar to what pj is talking about. His offset is from cb center to the contact point. My offset starts by drawing a line joining the contact points on each ball then parallel shifting to the cb center. Skipping the point to point alignment and letting offset memory set the line through center is something our minds will eventually do naturally, mental short cuts. The short backhand swivel to cut more works well on shorter shots and fairly straight shots. As you noted though the swivel or smallish offset on long shots gets magnified as distance between ob and pocket increase.

On off straight shots I use convergent inside english when possible. While standing I align my cue on a slight undercut center ball line. I lower the cue on that line until my eye to tip line are at the midpoint between the two balls. Holding my tip on the midpoint I move the butt of my cue to the inside english side of center. From the overhead view the cue line is just barely missing the cb center to the inside. It feels like an over cut as you get down but remember you set the original line to the undercut side of the pocket. The physics for the shot tells us that throw and deflection are consistent across all angles tested. This cueing concept virtually eliminates the impact of throw, when using follow or draw.

Test it on long shots to the corner where the ob has to travel a long distance.
 
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Kdogster

Registered
Thanks much for elaborating on the aiming perspective. I get your drift about looking at the horizon instead of focusing on the road. I would also agree that the best perspective for aiming is done while standing and letting your mind do it’s thing. I find it interesting how frame of mind creeps into the picture, when it comes to aiming. I have this hankering to watch Karate Kid to get a dose of Mr. Miyagi.

I will experiment with your inside english approach as a way to gauge the offset. I can tell you’ve put some time into your approach. Good stuff!
 

Imac007

AzB Silver Member
Silver Member
Thanks much for elaborating on the aiming perspective. I get your drift about looking at the horizon instead of focusing on the road. I would also agree that the best perspective for aiming is done while standing and letting your mind do it’s thing. I find it interesting how frame of mind creeps into the picture, when it comes to aiming. I have this hankering to watch Karate Kid to get a dose of Mr. Miyagi.

I will experiment with your inside english approach as a way to gauge the offset. I can tell you’ve put some time into your approach. Good stuff!

The basic stages of learning state unconscious competence as the ultimate goal. Miyagi Illustrates that the skills can be trained into the unconscious but context is needed to apply them in a useful way. Instead of lumping skills of close approximations together, experts have learned how to go beyond competence to a higher level. Martial arts reward competence with lower level belts as different skills reach competence levels, then add higher belts whereas additional levels of mastery are achieved. Focusing in and capturing the uniqueness of each shot reveals its true context. Commentator Jeremy Jones gives listeners a taste of that when he singles out shot keys on various shots. He is alerting the audience to differences that make a difference beyond simple execution competence, just as Miyagi offered context to his student. Digging into and pulling the shot back into conscious awareness and embracing each shots individual uniqueness is a finer differentiation that lets the player see the differences that make a difference. Hope this helps as you push towards more awareness.
 

Kdogster

Registered
Thanks Imac007 for the wisdom and thoughts. I am appreciating the stages of learning you described. I love it when conscious thoughts get absorbed by the sub-concious as your experience grows.
 
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