Mark Wilson Pool Clinc on YouTube
- Thread starter KenRobbins
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I found one in the app store "Slowmo - SlowMo Video Analysis"
I don't know if that's what he was using, but it looks to have the same features.
I believe it’s Hudl Technique
Ah, coach's eye is the one i was thinking of. that's a good one as well.
Holding a Gaze on Point of Contact with Object Ball
This is fantastic, concise advice.
If I understand you correctly, this is holding a “gaze” on the object ball contact point just before “pulling the trigger” with the final stroke.
This happens towards the tail end of the entire shot process, but what about at the beginning?
I’ve found that whenever I’m in dead stroke, Its because I led with my chin and dropped straight down on the shot line, holding my gaze on the object ball contact point throughout the descent and another second or so after I’m settled before I shift my eyes onto the cue ball. Ideally there’s no cue motion this entire time. Does this sound right to anybody else?
This is fantastic, concise advice.
If I understand you correctly, this is holding a “gaze” on the object ball contact point just before “pulling the trigger” with the final stroke.
This happens towards the tail end of the entire shot process, but what about at the beginning?
I’ve found that whenever I’m in dead stroke, Its because I led with my chin and dropped straight down on the shot line, holding my gaze on the object ball contact point throughout the descent and another second or so after I’m settled before I shift my eyes onto the cue ball. Ideally there’s no cue motion this entire time. Does this sound right to anybody else?
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At the beginning. The tail end naturally pauses b/c of the time in the beginning.
I think I understand you. You’re talking about a moment that is after the last practice stroke but before drawing back for the final stroke. This pause before drawing back seems to naturally slow down the backswing as well.
I admire, by the way, how you describe in one sentence what takes me a whole paragraph. :wink:
I was speculating about a similar pause and gaze on the object ball before the first practice stroke takes place. It seems to help me, but I don’t recall hearing an instructor recommend this like I have with the back pause in SPF.
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Hudl Technique vs. Coach’s Eye
I could be wrong, but it looked like Mark Wilson was using Coach’s Eye instead of Hudl Technique. I’ve been using both of them and Coach’s Eye is the one with the more barebones interface.
I’ve been surprised to find that Hudl Technique is actually a more powerful tool than Coach’s Eye. I’d say Hudl is behind in brand recognition and market share entirely because their name isn’t catchy like “Coach’s Eye.”
I could be wrong, but it looked like Mark Wilson was using Coach’s Eye instead of Hudl Technique. I’ve been using both of them and Coach’s Eye is the one with the more barebones interface.
I’ve been surprised to find that Hudl Technique is actually a more powerful tool than Coach’s Eye. I’d say Hudl is behind in brand recognition and market share entirely because their name isn’t catchy like “Coach’s Eye.”
Thanks for posting that. Just watched it.
What I like about his rhythm and steadiness is that it just looks like he'll never miss or make a mistake. As an opponent that would be tough to stay positive against.
I get down the same way. My eye is on the object ball all the way down as it seems to get my head in the right position. I am getting the "Dance Step" pretty well--needs work but coming along. The "Ladies and Gentlemen" has given me a rhythm that allows a very good PEP and easier to stay locked on the OB. From there I use the SPF and all the info Mark covered makes the SPF flow. I also make sure that my "set" feels really good before I do the "Ladies & Gentlemen." Am I ever gladI clicked onto that video!!
Thanks for the Confirmation
It’s good to hear someone else does this, too.
Do you have Mark’s book? If I remember correctly, he talks about the eyes “traveling” along the line of aim from cue ball to contact point.
That part of the book gave me pause. Words are funny things, though - they take on different meanings depending on perspective. I’ll re-read that part and maybe something will click.
Here’s what I’ve noticed about “eye pattern” ...
Good players seem to almost “stare down” the object ball like they’re mad at it. Just look at Alison Fischer’s eyes in the video. I’ve seen that look before when watching good players.
It’s good to hear someone else does this, too.
Do you have Mark’s book? If I remember correctly, he talks about the eyes “traveling” along the line of aim from cue ball to contact point.
That part of the book gave me pause. Words are funny things, though - they take on different meanings depending on perspective. I’ll re-read that part and maybe something will click.
Here’s what I’ve noticed about “eye pattern” ...
Good players seem to almost “stare down” the object ball like they’re mad at it. Just look at Alison Fischer’s eyes in the video. I’ve seen that look before when watching good players.
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I read Mark’s book several years ago, and I largely adopted (or attempted to adopt/ingrain) his method of taking the stance. But I have to say that it never became fully natural - because of the dance step. One of the reasons is that it seems to force me to move my entire self, including my head, off the line that I established while standing directly behind the ball (straddling the shot line) before taking my stance. So, I have gravitated to standing more to the side, at an angle, when establishing the shot line, and even tilting my head into the position that it will be in when I get down on the shot. This helps, but there is still some awkwardness about it.
When I watch videos of top pros, I don’t see dancing. This has always made me question the use of the dance step, and even Mark’s advice on foot position (fully to the side of the shot line).
When I saw the video of this recent clinic that Mark put on, and the video of Allison Fisher within that video, I saw movement by her to the side when shifting from standing straight behind the ball to getting down on the shot. But, it didn’t look exaggerated. It also looked like deliberate practice - which it was. So I decided to look at some of her matches, and sure enough, no dancing. Pretty much just her left foot moving left/forward and planting.
So then I took a look through some UTube videos made by other instructors, and what I found was that Mark’s advice to stand completely to the side of the shot line is not shared gospel. There seems to be a view that standing with one’s back foot on the shot line is desirable. If one adopts this approach, less/no dancing is required. See, for example, these two video lessons:
https://youtu.be/Hp23IzV2u_w
https://youtu.be/bosPR6gcoH0
I’d be interested in thoughts on where/how to stand when upright, where the back foot should be relative to the shot line, when getting down on the shot, and what foot movements are involved in getting from the initial standing position to being down on the shot.
There's lots of good stuff in Mark's book and I enjoyed watching this lesson. But (there's always a but) I think one of the key things players need to do when gathering advice is to separate the facts from the opinions. I think it's a fact that top players cue more deliberately and Mark points this out perfectly in this session! However, I don't think it's a fact that you need to have your plant foot right inside the shot line for "clearance". Or even have your plant foot turned as extremely as Mark recommends. Having your plant foot turned more than say 20 degrees or so makes it difficult to properly step into the shot.
When it comes to addressing the ball properly, I think we should start with emulating snooker players and adjust from there. Of course that's just another opinion.
When it comes to addressing the ball properly, I think we should start with emulating snooker players and adjust from there. Of course that's just another opinion.
I struggled with this part of the book, too, especially getting my right foot completely perpendicular to the line of aim. I had to come up with some kind of adaptation that worked for me, but I’m not happy with it.
I discussed this with another well-respected instructor and I think it comes down to one size doesn’t fit all. Like my instructor friend said, “Mark is 6’7” and does yoga, you know.” I’d guess that Mark would actually agree and makes reasonable allowances for different physiques when giving personal instruction.
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When you drop down on the shot line, you are confirming you aim if you like what you see then you move your eyes to the cue ball take your practice stroke confirming where you want to hit the cue ball, STOP the cue transition your eyes to the OBJ ball slow back swing PAUSE then accelerate forward to the finish position.
If you put Painters tape on the floor straight in line with the shot line put your right toe's along the edge of the tape, without moving you right foot step toward the table and to the left with your left foot with the toes of you left foot point toward the table, now bend over and place you bridge hand on the table. it might feel a little uncomfortable at first but it will become comfortable in a short period of time.
Another way you can try this is go over to a wall, put a table along side it for your bridge hand, now put your toes of you right foot up against the wall step toward the table and to the left bend over and place you bridge hand on the table, you have just created tri-pod. Your right arm and the back of your hand will be against the wall now you can conduct practice strokes. Your arm and hand should not come off the wall, if they do then you are not stroking in a straight line.
Dancing Players
I haven’t watched the second and third parts of the clinic yet, but having read the book I think I know what’s meant by the “dance step.” (That phrase isn’t in the book that I recall.) “Dance step” sounds like a catchy phrase to describe what Mark demonstrates in the photo sequence on stance.
“Dance step” is probably what snooker instructors call the “walk-in” to the shot. Check out Kyren Wilson. He has a distinctive “walk-in” during his pre-shot routine that’s kind of a “dance step.” I like it. He trains with Barry Stark. There’s a video of one of their sessions together where Barry points out that Kyren is fairly tall (like 6’2”) and has adapted the orthodox snooker stance to suit his body type.
I’d also recommend Kyren Wilson as a good example to anyone who struggles with using the mechanical bridge.
I haven’t watched the second and third parts of the clinic yet, but having read the book I think I know what’s meant by the “dance step.” (That phrase isn’t in the book that I recall.) “Dance step” sounds like a catchy phrase to describe what Mark demonstrates in the photo sequence on stance.
“Dance step” is probably what snooker instructors call the “walk-in” to the shot. Check out Kyren Wilson. He has a distinctive “walk-in” during his pre-shot routine that’s kind of a “dance step.” I like it. He trains with Barry Stark. There’s a video of one of their sessions together where Barry points out that Kyren is fairly tall (like 6’2”) and has adapted the orthodox snooker stance to suit his body type.
I’d also recommend Kyren Wilson as a good example to anyone who struggles with using the mechanical bridge.
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FYI, some additional videos covering stance options and recommendations can be found here:
stance advice resource page
This one might be of particular interest:
NV J.21 – How to Find the Perfect Pool/Snooker/Billiards Stance
I will be posting a video soon (probably next week) covering this topic. Therefore, I look forward to hearing what people have to say.
Regards,
Dave
Painters Tape
I used painters tape just like Mark does in the book. I even bought a laser level to make sure I got the lines straight. I hate to say it, but one day of trying left me fairly crippled for a week. I’m not hung up on “comfort,” but my flexibility is probably below average even for someone my size and age. I haven’t given up, though, and have been meaning to try the wall technique you recommend. Thank you for that advice.
I used painters tape just like Mark does in the book. I even bought a laser level to make sure I got the lines straight. I hate to say it, but one day of trying left me fairly crippled for a week. I’m not hung up on “comfort,” but my flexibility is probably below average even for someone my size and age. I haven’t given up, though, and have been meaning to try the wall technique you recommend. Thank you for that advice.
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