Understanding Andy Roddick's Serve Part 1
John Yandell’s serve from a central baseline position, filmed from a rear CourtLevel angle. His continental grip is clearly visible, with a loose wrist that pronates aggressively through contact, causing the racquet face to rotate rapidly toward the target.
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18.5s |
The Serve: Where Are We Now?
John Yandell’s stroke animation from a central baseline position, filmed from a CourtLevel angle. His follow-through is broken into clear frame-by-frame positions that emphasize how the racquet finishes across his body while his weight transfers forward into a balanced, neutral ready stance.
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5.9s |
Your Strokes: Andy Roddick's Backhand (9 of 9)
Andy Roddick's two-handed backhand from a neutral baseline position, filmed from a rear court-level angle. His follow-through finishes high with the racquet over his right shoulder while his weight transfers onto his front foot, and he quickly brings both hands back toward a ready position.
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4.9s |
The Upward Swing: Federer's Serve in High Speed and High Def
John Yandell’s forehand from a central baseline position, filmed from a side CourtLevel angle. His semi‑western grip is stable while the wrist stays laid back through elbow extension, with the racquet head releasing forward only after contact.
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3.9s |
Your Strokes: Danielle Dotzenrod Two-Handed Backhand
Pro player's forehand contact and extension from a neutral baseline position, filmed from a side court-level angle. The side view makes it easy to see the strong wrist lag before contact and the smooth release into extension as the wrist gradually straightens through the hitting zone.
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Tomas Berdych's Forehand (10 of 16)
John Yandell's forehand from a neutral position, filmed from a side angle. His semi‑western grip is paired with a pronounced double-bend structure in the hitting arm, with the wrist laid back (lag) well into the forward swing before releasing toward contact.
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5.8s |
Your Strokes: Arthur Gosnell: Serve (10 of 12)
Arthur Gosnell's serve from a central baseline position, filmed from a rear angle. At contact his racket face is slightly closed with the ball struck just above full arm extension, and the racket whips up and around his body into a pronounced leg-around finish.
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4.4s |
The Two-Handed Backhand: Preparation and Backswing
John Yandell's backhand backswing from the center of the baseline, filmed from a side CourtLevel angle. His racquet completes a full shoulder turn with the non-hitting hand staying on the throat before separating, and his weight loads onto the back leg in preparation for driving forward into the shot.
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6.8s |
The Myth of the Magic Bullet
John Yandell’s contact point animation from a central court position, filmed from a CourtLevel angle. The sequence emphasizes how the racket face orientation and subtle wrist alignment at contact are stabilized with a firm but not overly tight grip.
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5.4s |
John Yandell: Classical Tennis and Modern Tennis
John Yandell’s forehand contact height demonstration from the center of the court, filmed from a side angle. After contact he extends his hitting arm upward with the racquet finishing high while his non-hitting hand stays in front of his body, then he regroups into a neutral ready position.
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3.9s |
The Backhand Volley: Variations
John Yandell's FH CC from the Deuce side, filmed from a CourtLevel Side angle. His open stance forehand features a pronounced outside leg load with a quick lateral shuffle into contact, followed by a compact recovery step that returns him toward the center.
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9.1s |
John Yandell: Del Potro's Forehand Analyzed
Player's forehand from a central baseline position, filmed from a side CourtLevel angle. The contact point is slightly in front of the lead hip with a clear double-bend shape in the hitting arm, and the racket face is close to vertical as it accelerates up the back of the ball.
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3.7s |
John Yandell: Del Potro's Forehand Analyzed (10 of 14)
John Yandell's forehand from the center of the baseline, filmed from a court-level rear angle. After contact he extends his racquet out toward the target before wrapping across his body, with his non-hitting hand staying back to help his shoulders unwind and then return to a neutral ready position.
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5.9s |
John Yandell: Backhand Volley
John Yandell's forehand from the center of the baseline, filmed from a side CourtLevel angle. His hips stay closed longer into the loading phase while his knees are deeply flexed, then his rear leg drives forward to initiate hip rotation into contact.
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8s |
The Two-Handed Backhand: Hand and Arm Rotation
John Yandell’s forehand from the center of the baseline, filmed from a side CourtLevel angle. His semi-western grip is evident in the strong wrist lag on the forward swing, with a pronounced but controlled wrist release just after contact.
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13.3s |
Hitting Stances in the Modern Forehand
John Yandell’s forehand in-air animation from a neutral court position, filmed from a side angle. His split-step into an open stance is clearly visible, with a pronounced loading on the outside leg before rotating through contact.
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6s |
The Two-Handed Backhand: The Forward Swing
John Yandell's forehand finish to wrap from the center of the court, filmed from a side angle. His follow-through wraps fully across his body with the non-hitting hand counterbalancing behind him before he returns to a neutral ready position.
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19.2s |
The Forehand Return of Serve Part 2: Extreme Grips
John Yandell’s first-move animation sequence from a neutral baseline position, filmed from a side angle. The frames clearly display the racquet’s initial unit turn with the strings staying roughly perpendicular to the baseline as the hand and racquet move together into the preparation phase.
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11.7s |
The One Handed Topspin Backhand Part 2
John Yandell’s forehand unit turn from the center of the court, filmed from a side angle. His semi-western grip is clearly visible as his wrist stays laid back during the unit turn, creating a pronounced lag position before forward acceleration.
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5.8s |
The One Handed Topspin Backhand Part 1
John Yandell’s forehand from the center of the court, filmed from a rear court-level angle. The racket face is slightly closed at a contact point just in front of his lead hip, with the strings accelerating steeply up and across the ball.
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9.7s |
The One-Handed Backhand: Stances
John Yandell’s forehand from a neutral stance in the middle of the court, filmed from a side angle. His semi-western grip is evident in the way the racquet face stays closed with a pronounced wrist lag that unwinds into a clear pronation through contact.
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6.8s |
John Yandell: Forehand Volley
John Yandell's forehand from the center of the court, filmed from a side angle. His shoulders turn well past perpendicular to the net, creating a pronounced trunk coil that clearly uncoils from the hips upward in a distinct kinetic chain sequence.
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6.8s |
The Extreme Closed Stance: Two Handed Backhand Norm?
John Yandell’s animation of various grips is presented in a neutral court context, filmed from a CourtLevel angle. His follow-through positions and hand adjustments are clearly visible as he transitions between grips, emphasizing how the non-hitting hand and wrist orientation prepare the racquet for the next shot.
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16.6s |
Grip Structures in the Modern Forehand Part 2
John Yandell's forehand high ball drive from a neutral court position, filmed from a side angle. His extreme western grip is evident in the strong racket face closure and pronounced wrist lag that unwinds into a sharp forward snap at contact.
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5.8s |
The Forehand Return of Serve Part 1: Compact Classical
John Yandell’s hitting arm animation is presented from a neutral, instructional graphic angle. The sequence makes the forearm-to-wrist relationship clear, emphasizing how the wrist lags in early forward motion and then pronates through contact to illustrate the timing of grip firmness and wrist release.
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6.4s |
Novak Djokovic's Forehand: The Unit Turn
John Yandell's forehand InsideOut from the middle of the court, filmed from a rear CourtLevel angle. After contact his follow-through wraps fully across his body while his non-hitting hand extends back to help his shoulders unwind into a balanced recovery stance.
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4.4s |
Further Thoughts: The Serve (10 of 20)
John Yandell's serve from a central baseline position, filmed from a side CourtLevel angle. His shoulder line turns well past perpendicular to the net, creating a pronounced trunk coil that then uncoils sequentially from hips to shoulders before the arm whips up to contact.
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5.7s |
Your Strokes: Norman Ashbrooke Serve (9 of 10)
Norman Ashbrooke's serve from a central baseline position, filmed from a court-level rear angle. His feet load into a platform stance with a clear knee bend before driving up, followed by a small hop and balanced landing on his front foot that sets up an efficient recovery step.
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3.8s |
Your Strokes: Jonathan Ryle Serve (3 of 11)
Jonathan Ryle's serve from a central baseline position, filmed from a rear CourtLevel angle. His continental grip is clearly visible with a loose wrist that pronates aggressively through contact, creating a pronounced wrist snap just after impact.
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11.1s |
Roger's Revenge: Wimbledon 2007 (10 of 15)
John Yandell’s forehand from a neutral position, filmed from an animated side view. The animation emphasizes an eastern forehand grip with a clearly delayed wrist lag that releases into pronounced forearm and wrist pronation through contact.
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5.4s |
Three Secrets for Destroying Pushers (10 of 16)
John Yandell’s animation mirror sequence from a central court position, filmed from a court-level angle. His recovery steps bring him quickly back to a neutral stance with the racquet set in front and the non-hitting hand helping stabilize the torso for the next shot.
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15.7s |
Your Strokes: TLM's Extreme Grip Forehand (10 of 16)
Nadal's forehand preparation and unit turn from the middle of the court, filmed from a side animation angle. The animation clearly depicts the racket head dropping below the ball with a closed racket face just before contact, emphasizing the steep low-to-high swing path.
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7.6s |
The Myth of the Dog
John Yandell’s forehand from the middle of the court, filmed from a side angle. His follow-through wraps across his body as his weight transfers fully onto his front leg before he quickly recovers back into a compact ready position.
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10.6s |
Novak Djokovic's Forehand: The Full Turn and the Backswing
John Yandell's forehand from a neutral middle-court position, filmed from a court-level side angle. At contact his racket face is slightly closed with the ball struck around waist height, and the racket head accelerates steeply upward along a pronounced low-to-high swing path.
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5.4s |
Novak Djokovic's Forehand: The Forward Swing
John Yandell’s overhead serve motion from a central baseline position, filmed from an over-the-shoulder rear angle. His hips stay closed longer through the knee bend and leg drive, with the rear hip rotating up and into the court as he extends off the ground.
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4.8s |
The Forehand Volley Variations
John Yandell’s forehand from a neutral baseline position, filmed from a rear court-level angle. His shoulders and trunk are clearly coiled well past 90 degrees in the unit turn, then uncoil in sequence from hips to shoulders with a pronounced lag before the arm and racquet come through.
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10.3s |
Measuring Racket Head Speed: A New Study of the Sampras Serve
John Yandell’s forehand from the middle of the court, filmed from a side angle. His footwork features a well-timed split-step into an open stance, with a strong load on the outside leg before driving forward into contact.
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3.6s |
Your Strokes: Bryan Yeager One Handed Backhand (10 of 10)
TennisPlayer_Flash's one-handed backhand from a neutral stance, filmed from an animation-style side view. The hips stay relatively closed as the knees flex into the loading phase, with a noticeable upward leg drive initiating just before contact.
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5.3s |
The Wimbledon Final 2008: A Different Story? (10 of 22)
John Yandell’s point construction and tactical patterns from a neutral baseline position, filmed from a CourtLevel angle. His upper body work emphasizes an early, pronounced shoulder turn and delayed trunk uncoil, sequencing the kinetic chain so the hips initiate before the shoulders fully release into each groundstroke.
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9s |
The Pro Return: The One Handed Backhand Drive
John Yandell in a ready position at the center of the baseline, filmed from a court-level rear angle. His split-step timing is clearly visible as he lands on the balls of his feet with knees flexed, setting up quick lateral movement in either direction.
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13.7s |
Mysteries of the Heavy Ball:Practical Serving Implications (10 of 10)
John Yandell's serve from the deuce side, filmed from a rear court-level angle. His follow-through carries his racquet hand fully across his body while his non-hitting hand drops and then regroups, helping him land inside the court and quickly recover toward a balanced ready position.
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22.9s |
John Yandell: Sampras Serve: Hip and Shoulder Rotation
John Yandell's forehand from the center of the court, filmed from a side angle. His hips stay closed longer during the loading phase with a deep knee bend, then drive forward and open in sync with an aggressive leg push into the court.
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4.5s |
Your Strokes: "Shroud" Forehand (10 of 11)
Player's forehand from the center of the baseline, filmed from a side CourtLevel angle. The video makes it easy to see the deep knee bend into the loading phase and how the hips drive forward and then extend upward through contact.
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6.7s |
Novak Djokovic's Forehand: A New Synthesis
John Yandell's forehand from the center of the baseline, filmed from a side CourtLevel angle. His footwork features a clear adjustment step into a semi-open stance, followed by a balanced recovery step that returns him toward a neutral position on the baseline.
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3.3s |
Stan Wawrinka's Backhand (10 of 11)
John Yandell’s animation of Stan Wawrinka’s one-handed backhand from a neutral court position, filmed from a rear angle. The rear view makes the strong eastern backhand grip and delayed wrist release into extension at contact clearly visible frame by frame.
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8.9s |
John Yandell: The One Handed Pro Backhand: Part 3
John Yandell’s neutral stance forehand from the center of the court, filmed from a side CourtLevel angle. His shoulders turn well past 90 degrees relative to the baseline, with a pronounced trunk coil that uncoils sequentially from hips to shoulders into contact.
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15.7s |
Rafael Nadal's Forehand
John Yandell’s forehand from a neutral position, filmed from a side CourtLevel angle. His follow-through finishes with the hitting arm bending across his body while his weight transfers onto the front foot and he quickly begins to recover toward a ready position.
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4.3s |
One Handed Backhand Part 4: The Forward Swing
John Yandell’s torso rotation animation from a central court position, filmed from a side angle. The sequence makes the strong wrist lag relative to the rotating torso very clear, with the wrist staying laid back until just before contact.
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16.9s |
Andy Roddick's Two-Handed Backhand
John Yandell’s various stroke combinations from the center of the court, filmed from a court-level angle. His footwork includes a clear split-step into quick adjustment steps, with forehands often hit from an open stance and backhands from a more neutral stance before recovering to the middle.
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10.3s |
The Two-Handed Backhand: The Hitting Stances
John Yandell’s forehand from the deuce court, filmed from a rear court-level angle. At contact the racket face is almost perfectly vertical with the ball struck slightly in front of his lead hip, and the upward swing path produces a clear low-to-high motion through the hitting zone.
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4.1s |
Modern Tennis: Where Are We Now? The Forehand Part 2
John Yandell’s forehand from the center of the court, filmed from a court-level side angle. His wiper-style follow-through finishes across his body with the non-hitting hand counterbalancing behind him before he recovers back into a compact ready position.
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4.4s |
The Forehand Followthrough: Extension and Rotation
John Yandell's forehand from the center of the court, filmed from a side CourtLevel angle. His hips stay closed through the loading phase with a deep knee bend, then uncoil as the legs drive up and forward to create a pronounced wiper motion.
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6.3s |
Understanding Andy Roddick's Serve Part 2
John Yandell’s windup analysis segment from a neutral court position, filmed from a side angle. His shoulders coil significantly past his hips before uncoiling, making the trunk rotation and sequential unwinding through the kinetic chain very clear.
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9.4s |
The Athletic Foundation
John Yandell’s animation sequence of multiple strokes from a neutral court position, filmed from a composite side and rear angle. The frames make the progressive wrist pronation and gradual release of the continental and semi-western grips clearly visible through contact and into the follow-through.
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8.4s |
Your Strokes: Danielle Dotzenrod Two-Handed Backhand
Danielle's forehand from the middle of the court, filmed from a side angle. Her shoulders and trunk coil early as the racquet lags behind, then uncoil in sequence with the hips so that her chest fully faces the net at extension.
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The Upward Swing: Federer's Serve in High Speed and High Def
John Yandell’s serve from the center of the baseline, filmed from a rear court-level angle. His follow-through brings his hitting arm down across his body while his back leg swings forward into the court, helping him recover quickly toward a balanced ready position.
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6.4s |
Why Rafa Crushed Roger at the French 2007 (11 of 11)
John Yandell's forehand from the deuce court, filmed from a rear court-level angle. His hips stay closed through the loading phase with a pronounced knee bend, then rotate aggressively into contact as his legs drive up and into the court.
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36s |
John Yandell: Sampras Serve: Hip and Shoulder Rotation
John Yandell’s animation sequence of multiple strokes from center court, filmed from mixed angles including Rear, Side, and CourtLevel views. The contact points are shown frame-by-frame, with racket face angle, contact height, and swing path clearly visible as the racket moves through the hitting zone.
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4.1s |
Roger's Revenge: Wimbledon 2007 (11 of 15)
John Yandell playing a backcourt point, filmed from a court-level back angle. His shoulders and trunk show a pronounced unit turn on both FH and BH patterns, with a clear sequence of hip rotation initiating the uncoil before the upper torso follows through the shot.
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18.8s |
Novak Djokovic's Forehand: The Full Turn and the Backswing
John Yandell’s animation of the backswing phase, filmed from a side angle. You can clearly see his weight transfer onto the back leg into a neutral stance before initiating the forward swing.
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5.9s |
The Forehand Volley Variations
John Yandell’s forehand from the center of the court, filmed from a rear court-level angle. His hips load in a closed position with a pronounced knee bend, then unwind as his legs drive upward and forward into the shot.
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8.7s |
What is "True" in Tennis?
John Yandell’s body rotation animation from a neutral court position, filmed from a side angle. His follow-through continues with the torso fully unwound and weight clearly transferred onto the front foot before he resets into a balanced ready stance.
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6.3s |
The Extreme Closed Stance: Two Handed Backhand Norm?
John Yandell’s animation of the forehand coiling phase from a neutral stance, filmed from a side angle. His hips and legs load with a deep knee bend and pronounced hip turn, clearly showing how the rear hip and leg store energy before uncoiling into the forward swing.
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26.5s |
John Yandell: Classical Tennis and Modern Tennis
John Yandell’s forehand grip change animation from the center of the baseline, filmed from a side angle. His footwork remains stable in a neutral stance as the animation isolates how the grip change occurs without any accompanying split-step or recovery movement.
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4.3s |
John Yandell: Backhand Volley
John Yandell’s forehand from the center of the court, filmed from a side CourtLevel angle. His deep knee bend and strong leg drive into the court are clearly visible as his hips rotate through contact from a semi-open stance.
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3.4s |
Novak Djokovic's Forehand: The Unit Turn
John Yandell’s forehand from the center of the court, filmed from a court-level side angle. His follow-through finishes high with the racquet wrapping across his body while his non-hitting hand settles near his torso as he recovers back into a ready position.
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7.2s |
Three Secrets for Destroying Pushers (11 of 16)
John Yandell’s second serve from a central position, filmed from a behind CourtLevel angle. His shoulders and trunk visibly over-rotate relative to the toss line, and the delayed uncoil up the kinetic chain shows how mistimed trunk release can disrupt serve rhythm and consistency.
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5.4s |
Pro Patterns: Switching the Rally
John Yandell’s forehand down the line from a neutral position, filmed from a side court-level angle. His semi-western grip is evident in the way the racquet face stays closed with a pronounced wrist lag that unwinds into a sharp pronation right at contact.
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8.8s |
Modern Tennis: Where Are We Now? The Forehand Part 2
John Yandell’s forehand from a neutral position, filmed from a side animation angle. His shoulders and trunk first extend into a deep coil, then uncoil with a pronounced wrap of the hitting-side shoulder across the body, clearly illustrating the sequencing of torso rotation through contact into the follow-through.
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7.9s |
John Yandell: Del Potro's Forehand Analyzed (11 of 14)
John Yandell's forehand from a neutral baseline position, filmed from a side CourtLevel angle. At contact his racket face is slightly closed with the ball struck just in front of his lead hip at roughly waist height, and the racket head accelerates steeply upward along the swing path.
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7.2s |
The Two-Handed Backhand: The Forward Swing
John Yandell's forehand from the center of the court, filmed from a side CourtLevel angle. His semi‑western grip is evident in the laid‑back wrist position during the forward swing, with a pronounced wrist extension that unwinds into a relaxed finish over the shoulder.
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16.5s |
Your Strokes: Arthur Gosnell: Serve (11 of 12)
Federer's serve motion from a central baseline position, filmed from a side animation angle. His follow-through carries his hitting arm fully across his body as his weight lands on his front foot, quickly bringing both hands back together into a compact ready position.
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2.4s |
Hitting Stances in the Modern Forehand
John Yandell’s forehand from the middle of the court, filmed from a side CourtLevel angle. His hips load by turning away from the net with a deep knee bend, then uncoil as his back leg drives forward into contact.
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10.1s |
The One-Handed Backhand: Stances
John Yandell's forehand from the center of the court, filmed from a rear court-level angle. At contact his racket face is slightly closed with the ball struck around waist height, and the racket head accelerates steeply upward along a pronounced low-to-high swing path.
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7.8s |
The Two-Handed Backhand: Hand and Arm Rotation
John Yandell's forehand from the center of the baseline, filmed from a side CourtLevel angle. His hips clearly unwind ahead of the shoulders while the legs extend upward from a deep knee bend, showing strong leg drive through the rotation into the finish.
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10.1s |
John Yandell: The Forehand: Where Are We Now?
John Yandell’s forehand from a neutral court position, filmed from a side angle. His hips load by turning away from the net with a deep knee bend, then uncoil as the rear leg drives forward to initiate trunk rotation into contact.
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11.6s |
The Pro Return: The One Handed Backhand Drive
John Yandell's full-swing groundstroke from a central court position, filmed from a side angle. His shoulders turn well past 90 degrees relative to the net, with a pronounced trunk coil that uncoils sequentially from hips to shoulders into contact.
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14s |
The Myth of the Dog
John Yandell’s groundstroke from the center of the baseline, filmed from a side CourtLevel angle. His hips load by turning away from the net with a deep knee bend, then unwind as his rear leg drives forward to initiate rotation into contact.
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6.6s |
Grip Structures in the Modern Forehand Part 2
John Yandell’s forehand from a neutral baseline position, filmed from a rear court-level angle. His shoulders and trunk are visibly coiled well past 90 degrees on the unit turn, then uncoil in a sequenced manner with the hips leading and the trunk following into contact.
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3.3s |
The Myth of the Magic Bullet
John Yandell’s movement and stance patterns during an indoor baseline rally, filmed from a side CourtLevel angle. His timing of the split-step and transition into a semi-open stance on groundstrokes is clearly visible, including the small adjustment steps he uses before planting the front foot.
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12.1s |
The Backhand Volley: Variations
John Yandell's forehand InsideOut from a neutral position, filmed from an animation-style rear angle. His semi-western grip is evident in the strong wrist lag on the takeback that unwinds into a controlled pronation through contact.
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7.7s |
Measuring Racket Head Speed: A New Study of the Sampras Serve
John Yandell’s stroke sequence from a neutral position, filmed from a side CourtLevel angle. The last six frames make the degree of shoulder turn and the timing of the trunk uncoil especially clear, with the torso rotating forward just ahead of the arm and racquet release.
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3s |
John Yandell: The One Handed Pro Backhand: Part 3
John Yandell’s mixed-stroke animation sequence from a central baseline position, filmed from a side CourtLevel angle. His hips clearly load by turning away from the net while the knees flex deeply, then drive up and forward as the legs extend into contact.
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15.1s |
Tomas Berdych's Forehand (11 of 16)
John Yandell's forehand in a neutral stance from the center of the baseline, filmed from a court-level side angle. His hips stay relatively closed at the start with a pronounced knee bend, then unwind in sequence with a strong upward leg drive that straightens through contact.
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8.7s |
One Handed Backhand Part 4: The Forward Swing
John Yandell’s forehand from the middle of the court, filmed from a side angle. His hips and legs load in a strong semi-open stance, with a deep knee bend and clear forward leg drive into contact before the rear hip fully unwinds.
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15.4s |
Further Thoughts: The Serve (11 of 20)
John Yandell's serve from a central baseline position, filmed from a side CourtLevel angle. His footwork detail includes a clear platform stance with minimal foot adjustment during the toss, followed by a pronounced back-leg drive into the court on the landing step.
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5.1s |
Your Strokes: "Shroud" Forehand (11 of 11)
Player's forehand from the center of the baseline, filmed from a rear angle. The rhythmic footwork pattern features a well-timed split step into a smooth unit turn, with the hitting stance settling into a strong semi-open position before a balanced recovery.
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11.1s |
The Modern Pro Slice: Part 2
John Yandell’s stroke from the center of the baseline, filmed from the side. His shoulders and trunk load into a pronounced coil with the chest turning well sideways to the net, then uncoil in a clearly sequenced rotation that leads the arm and racket into contact.
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5.5s |
Your Strokes: TLM's Extreme Grip Forehand (11 of 16)
TLM's forehand from a neutral position, filmed from an animation-style side angle. The extreme semi-western grip is evident in the strong wrist lag on the take-back and the pronounced wrist snap forward just before and through contact.
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9.2s |
The Forehand Return of Serve Part 2: Extreme Grips
John Yandell’s forehand unit turn animation from the center of the baseline, filmed from a side CourtLevel angle. The contact point is shown slightly in front of his lead hip with the racket face close to vertical, clearly tracing the forward swing path into the ball.
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4.4s |
John Yandell: Forehand Volley
John Yandell’s forehand from a central baseline position, filmed from a rear court-level angle. At contact, the racket face is slightly closed with the ball struck just in front of his lead hip, and the upward windshield-wiper swing path accelerates the racket head sharply through the hitting zone.
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6.5s |
The Forehand Followthrough: Extension and Rotation
John Yandell's forehand from the center of the baseline, filmed from a side CourtLevel angle. His shoulders and trunk load with a pronounced coil against the hips, then uncoil in a clearly sequenced rotation that brings the hitting shoulder through before the torso squares to the net.
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3.8s |
The Forehand Return of Serve Part 1: Compact Classical
John Yandell's forehand inside-out from a neutral court position, filmed from a rear angle. His shoulders turn well past 90 degrees relative to the baseline, creating a pronounced trunk coil that then unwinds sequentially from hips to shoulders through contact.
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11.6s |
Understanding Andy Roddick's Serve Part 2
John Yandell’s forehand from the center of the court, filmed from a rear angle. His footwork includes a small adjustment hop into a semi-open stance, with a clear loading on the outside leg before pivoting and stepping into recovery.
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5.7s |
Your Strokes: Danielle Dotzenrod Two-Handed Backhand
Danielle's generic groundstroke hitting animation from center court, filmed from a side angle. Her hips stay relatively quiet while the legs show a consistent, moderate knee bend without a pronounced driving action through the shot.
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The Upward Swing: Federer's Serve in High Speed and High Def
John Yandell’s forehand wrist ulnar deviation animation from a neutral position, filmed from a side angle. The follow-through sequence clearly tracks the hitting hand moving across the body while the non-hitting hand stays relatively stable, emphasizing how the wrist motion finishes and the arm recovers toward a neutral position.
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2.5s |
John Yandell: Forehand Volley
John Yandell’s forehand from a neutral baseline position, filmed from a court-level side angle. His semi-western grip is evident in the closed racquet face at the start of the forward swing, with a pronounced wrist lag that unwinds into a clear pronation through contact.
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4.7s |
The Two-Handed Backhand: Hand and Arm Rotation
John Yandell’s forehand from the center of the baseline, filmed from a rear court-level angle. The contact point is well in front of his body with the racket face slightly closed, and the racket head accelerates steeply upward along the swing path just after impact.
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7s |
The Forehand Return of Serve Part 2: Extreme Grips
John Yandell’s forehand backswing sequence from a neutral position, filmed from a side animation angle. The hips and legs load with a clear knee bend and coiling of the hips against the stable base, setting up the uncoiling leg drive into the forward swing.
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13.6s |
The Two-Handed Backhand: The Hitting Stances
John Yandell’s forehand contact phase from a neutral court position, filmed from a rear CourtLevel angle. His semi-western grip is evident in the way the racquet face stays slightly closed while the wrist maintains a firm but relaxed lag position into contact.
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14s |
Your Strokes: Arthur Gosnell: Serve (12 of 12)
Berdych's serve from a central baseline position, filmed from a side animation angle. His hips load deeply with a pronounced knee bend, then drive upward as the back hip rotates through, clearly linking leg drive to hip uncoiling.
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2.4s |
John Yandell: Sampras Serve: Hip and Shoulder Rotation
John Yandell’s forehand swing deceleration sequence from a neutral baseline position, filmed from a side angle. His semi-western grip is evident as the wrist moves from a laid-back position into a controlled, gradual release with minimal ulnar deviation after contact.
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7.3s |
John Yandell: Sampras Serve: Hip and Shoulder Rotation
John Yandell’s deceleration phase animation, filmed from a composite analytical angle. The sequence makes the shoulder external rotation and trunk uncoil timing explicit, showing how the upper body slows and transfers momentum down the kinetic chain after ball contact.
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3.9s |
Measuring Racket Head Speed: A New Study of the Sampras Serve
John Yandell’s animation of stroke deceleration from a neutral position, filmed from a side angle. The sequence makes the progressive wrist relaxation visible as the racquet slows down after contact, with the grip pressure clearly easing to allow the racquet head to decelerate smoothly.
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4.9s |
Hitting Stances in the Modern Forehand
John Yandell's forehand from the Deuce side in an extreme open stance, filmed from a CourtLevel angle. His hips stay markedly open toward the net while his knees load deeply, with the outside leg driving up and around to initiate rotation into the ball.
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11.3s |
The Forehand Followthrough: Extension and Rotation
John Yandell’s forehand from the center of the court, filmed from a side CourtLevel angle. His follow-through finishes high across his body while his weight continues moving into the court, and he quickly brings both hands back toward a compact ready position.
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3.9s |
The One-Handed Backhand: Stances
John Yandell's forehand from the Deuce side, filmed from a CourtLevel rear angle. His hips stay closed longer during the unit turn and then unwind in sync with a pronounced knee bend and leg drive upward into contact.
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20.3s |
Grip Structures in the Modern Forehand Part 2
John Yandell’s forehand animation focusing on hand and racket rotation at contact, filmed from a side CourtLevel angle. The racket face angle progression through contact is clearly visible, showing the forearm-to-racket alignment and the degree of windshield-wiper rotation.
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3.1s |
The Myth of the Magic Bullet
John Yandell’s forehand from a neutral court position, filmed from an animation-style side angle. The contact point is clearly in front of his body with the racket face slightly closed and the racket head accelerating steeply upward along the swing path.
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2s |
One Handed Backhand Part 4: The Forward Swing
John Yandell’s forehand from the center of the court, filmed from a rear angle. At contact his racket face is slightly closed with the ball struck around waist height, and the racket head accelerates steeply upward along a modern windshield-wiper swing path.
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5.7s |
The Backhand Volley: Variations
John Yandell's mixed-stroke animation sequence from a central baseline position, filmed from a side CourtLevel angle. His knees load deeply before each stroke and you can clearly see the hips driving forward then unwinding, with the rear leg pushing off the ground to initiate rotation.
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14.4s |
Your Strokes: TLM's Extreme Grip Forehand (12 of 16)
Nadal's forehand from a neutral baseline position, filmed from an animated side angle. His extreme shoulder turn and deep trunk coil are clearly visible as his ribcage closes significantly to the net before uncoiling aggressively into contact.
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20.6s |
Novak Djokovic's Forehand: The Full Turn and the Backswing
John Yandell’s forehand from a central baseline position, filmed from a side CourtLevel angle. His footwork features a well-timed split step into a semi-open stance, with a clear loading on the outside leg before driving forward and recovering back to a balanced ready position.
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11.1s |
The Modern Pro Slice: Part 2
John Yandell’s forehand from a neutral baseline position, filmed from a side CourtLevel angle. The racket tip traces a clearly visible upward and forward path through contact, with the strings square to slightly closed at a contact height around waist level.
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6.6s |
Roger's Revenge: Wimbledon 2007 (12 of 15)
John Yandell’s neutral-stance forehand from the center of the court, filmed from a rear court-level angle. His hips stay relatively closed during the unit turn with a pronounced knee bend, then unwind with a strong upward leg drive that straightens both knees through contact.
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4.3s |
The Forehand Return of Serve Part 1: Compact Classical
John Yandell’s recovery movement to the center of the court, filmed from a court-level angle. His quick split-step followed by small adjustment steps back into a ready position illustrates compact footwork and a balanced, neutral stance between shots.
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14.5s |
John Yandell: Classical Tennis and Modern Tennis
John Yandell's open-stance forehand from the middle of the court, filmed from a court-level side angle. His semi-western grip is clear in the way the racket face stays closed with the wrist laid back into pronounced lag before releasing forward through contact.
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4.5s |
The Wimbledon Final 2008: A Different Story? (12 of 22)
John Yandell's forehand InsideOut from a central baseline position, filmed from an animated side-view angle. His follow-through wraps across his body with the non-hitting hand counterbalancing behind him as he recovers back toward a neutral ready stance.
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5.4s |
Your Strokes: John Daly: Serve Part 2 (12 of 13)
Salzy's serve from the center of the baseline, filmed from a rear angle. His hips stay closed to the net through the knee bend, with a strong upward leg drive that initiates hip rotation into the court as he swings up to the ball.
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7.5s |
Tomas Berdych's Forehand (12 of 16)
John Yandell's forehand footwork drill from the center of the baseline, filmed from a side angle. He performs a clear split step into a pivot with the outside foot and a pronounced hip and shoulder turn before initiating the forward swing.
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6.6s |
Novak Djokovic's Forehand: The Forward Swing
John Yandell’s torso-focused animation sequence, filmed from a neutral instructional angle. The hips visibly lead the upper body rotation, with the legs providing a stable, flexed base that drives the turn from the ground up.
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11.6s |
The Extreme Closed Stance: Two Handed Backhand Norm?
John Yandell’s forehand from a central baseline position, filmed from a side CourtLevel angle. His footwork pattern features a clear unit turn into a semi-open stance, with the right leg driving the uncoiling motion while the left foot anchors and then recovers toward a balanced ready position.
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26.3s |
Federer's Serve Locations: 2nd Serve Placements
John Yandell’s animation visual keys sequence for stroke analysis, filmed from a composite instructional angle. The hips and legs are shown in synchronized frame-by-frame positions, emphasizing how hip rotation timing links with knee bend and leg drive phases throughout the stroke cycle.
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17s |
John Yandell: Del Potro's Forehand Analyzed (12 of 14)
John Yandell's forehand from the center of the baseline, filmed from a side CourtLevel angle. After contact his wiper-style follow-through wraps across his body while his weight continues moving into the court and his non-hitting hand settles back into a compact ready position.
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7.5s |
Understanding Andy Roddick's Serve Part 2
John Yandell's full serve motion from the center baseline, filmed from a rear court-level angle. His follow-through finishes across his body with the non-hitting arm dropping and then helping him return to a balanced, square ready position after landing inside the court.
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9.9s |
Your Strokes: Danielle Dotzenrod Two-Handed Backhand
Federer's forehand from the center of the baseline, filmed from a side CourtLevel angle. His neutral stance is clear as he plants his front foot well inside the court, with a small hop and quick recovery step back to his ready position after contact.
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John Yandell: The Forehand: Where Are We Now?
John Yandell's forehand mechanics animation from a neutral baseline position, filmed from a side CourtLevel angle. His semi-western grip and extended wrist lag are clearly visible as the racquet head stays well behind the hand before pronating forward into contact.
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11.6s |
The Extreme Closed Stance: Two Handed Backhand Norm?
John Yandell’s serve from a neutral stance in the center of the baseline, filmed from a side CourtLevel angle. His shoulders turn well past 90 degrees relative to the net, creating a pronounced trunk coil that then uncoils sequentially from hips to shoulders as the racquet accelerates upward.
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8.5s |
Tomas Berdych's Forehand (13 of 16)
John Yandell's forehand from a neutral baseline position, filmed from a rear angle. His hips load with a pronounced turn away from the net, then unwind aggressively as his legs drive up and forward out of a deep knee bend.
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3.6s |
The Modern Pro Slice: Part 2
John Yandell’s conventional forehand from the middle of the court, filmed from a side angle. His hips load with a pronounced coil against a deep knee bend, then uncoil as his legs drive upward and forward into contact.
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6s |
Three Secrets for Destroying Pushers (13 of 16)
John Yandell’s drop shot and passing shot combination from a neutral baseline position, filmed from a rear court-level angle. The contact point on the drop shot is taken with a slightly open racket face and a compact, decelerating swing, while the passing shot features a more accelerated racket head and a forward, slightly closed face at impact.
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6.6s |
Novak Djokovic's Forehand: The Forward Swing
John Yandell’s forehand extension sequence from a neutral position, filmed from a side court-level angle. The contact point is slightly in front of his lead hip with the racket face nearly square to the ball, and the racket head continues accelerating upward and forward along the swing path after contact.
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4.9s |
The Upward Swing: Federer's Serve in High Speed and High Def
John Yandell's forehand from the center of the baseline, filmed from a side CourtLevel angle. At contact, the racket face is slightly closed with the strings driving up and across the ball as the racket continues to externally rotate through the hitting zone.
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3.2s |
Novak Djokovic's Forehand: The Full Turn and the Backswing
John Yandell’s forehand from the center of the baseline, filmed from a rear court-level angle. After contact his follow-through finishes high with the racquet wrapping over his shoulder while his weight transfers forward and he quickly recovers to a balanced ready position near the center mark.
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8.8s |
The Forehand Followthrough: Extension and Rotation
John Yandell's forehand from the middle of the court, filmed from a side angle. His hips and legs load with a deep knee bend and then drive upward and forward together, with the hips uncoiling ahead of the upper body to initiate the wiper motion.
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5.7s |
Your Strokes: John Daly: Serve Part 2 (13 of 13)
Richard Krajicek's serve from a central baseline position, filmed from a rear court-level angle. At contact his racket face is slightly closed with the ball struck just above full extension, and the racket head accelerates steeply upward along the right side of his body.
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6s |
What is "True" in Tennis?
John Yandell’s groundstroke movement sequence from the baseline, filmed from a side CourtLevel angle. His footwork pattern includes a well-timed split step into a neutral stance setup, followed by small adjustment steps that keep his weight centered as he moves into the hitting position.
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10.2s |
The Two-Handed Backhand: The Hitting Stances
John Yandell's forehand from a neutral central position, filmed from a side CourtLevel angle. His shoulders rotate well past 90 degrees relative to the baseline on the unit turn, then the trunk uncoils ahead of the arm swing, showing clear sequential rotation from hips to shoulders.
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9.3s |
One Handed Backhand Part 4: The Forward Swing
John Yandell’s forehand from the center of the court, filmed from a rear court-level angle. His stance shifts from semi-open to more neutral as he plants the outside foot, and the opposite arm action coordinates with a small adjustment step to line up his body before the forward swing.
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9.5s |
John Yandell: Sampras Serve: Hip and Shoulder Rotation
John Yandell’s animation sequence of various strokes is filmed from a mixed set of instructional angles. His recovery steps and follow-through paths are clearly separated frame-by-frame, making it easy to see how his weight transfer finishes and how quickly he organizes the racquet and non-hitting hand back into a ready position.
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4.1s |
The Forehand Return of Serve Part 2: Extreme Grips
John Yandell's forehand from a neutral position, filmed from a side CourtLevel angle. His shoulders rotate well past 90 degrees relative to the net on the unit turn, then the trunk uncoils ahead of the arm swing, making the sequential shoulder and torso rotation especially clear.
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6s |
John Yandell: Del Potro's Forehand Analyzed (13 of 14)
John Yandell's forehand from a neutral position, filmed from a reverse angle animation. The sequence makes the progressive shoulder turn and trunk coil especially clear, with the uncoiling initiating before contact while the shoulders remain slightly closed relative to the hips.
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9.3s |
Hitting Stances in the Modern Forehand
John Yandell's forehand from the baseline in a semi-open stance, filmed from a side angle. His hips load by turning partially sideways while his knees flex deeply, then his rear leg drives the hip forward into contact without fully closing toward the net.
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10.6s |
Roger's Revenge: Wimbledon 2007 (13 of 15)
John Yandell's point play from a neutral baseline position, filmed from a rear CourtLevel angle. The contact points are clearly visible with the racket face staying relatively square to the ball through impact and the strings accelerating on a steep, upward swing path.
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22s |
John Yandell: Classical Tennis and Modern Tennis
John Yandell’s forehand finish sequence animation from a neutral baseline position, filmed from a side angle. His hips rotate from a loaded, closed position into a fully open alignment while the legs extend upward from a deep knee bend, clearly showing how the leg drive uncoils into the hip turn through contact and into the finish.
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7.3s |
Your Strokes: TLM's Extreme Grip Forehand (13 of 16)
TLM's forehand from the center of the baseline, filmed from a rear animation angle. His extreme grip forehand mechanics feature pronounced hip coil with deep knee flexion before an aggressive uncoiling of the hips and strong leg drive into the court.
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2.6s |
The Upward Swing: Federer's Serve in High Speed and High Def
John Yandell’s internal shoulder rotation animation from a neutral position, filmed from a side angle. The sequence clearly separates trunk rotation from upper arm internal rotation, making the timing of shoulder turn completion versus continued trunk uncoil easy to distinguish.
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5.4s |
The Two-Handed Backhand: The Hitting Stances
John Yandell's forehand from the middle of the court in a closed stance, filmed from a side angle. His follow-through wraps across his body with the non-hitting hand staying back for counterbalance before he recovers into a compact ready position.
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14.7s |
Weaponize Your One Handed Backhand
John Yandell’s forehand contact sequence from a neutral position, filmed from a side animation view. The animation makes the degree of shoulder turn and the timing of trunk uncoil into contact very clear, showing the shoulders staying closed as the hips initiate rotation and the upper body unwinds slightly later in the kinetic chain.
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13.6s |
Three Secrets for Destroying Pushers (14 of 16)
John Yandell's lob from a neutral court position, filmed from a court-level angle. His racket face is distinctly open at contact with the ball struck well above net height, and the upward extension of the racket head creates a steep, arcing trajectory over the opponent.
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6.8s |
One Handed Backhand Part 4: The Forward Swing
John Yandell's forehand from the center of the court, filmed from a side CourtLevel angle. His opposite arm extends back and then tucks in toward his body during the follow-through, helping his torso unwind and return to a balanced ready position.
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7.9s |
The Forehand Followthrough: Extension and Rotation
John Yandell’s forehand from a central baseline position, filmed from a side CourtLevel angle. His semi‑western grip and laid‑back wrist create a pronounced lag, with a clear pronation of the wrist and forearm just before and through contact.
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10s |
John Yandell: The Forehand: Where Are We Now?
John Yandell’s forehand from the baseline, filmed from a side angle. His semi-western grip is evident in the strong wrist lag on the forward swing, with a distinct pronation of the wrist and forearm as the racquet accelerates into contact.
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9.3s |
Novak Djokovic's Forehand: The Full Turn and the Backswing
John Yandell’s forehand from a neutral baseline position, filmed from a side CourtLevel angle. His shoulders rotate well past 90 degrees relative to the net on the unit turn, with a clearly visible delayed uncoiling of the trunk that precedes the forward arm swing in the kinetic chain.
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4.3s |
Roger's Revenge: Wimbledon 2007 (14 of 15)
John Yandell's point construction from a neutral baseline position, filmed from a court-level rear angle. His hips load with a deep knee bend and then uncoil as his legs drive up and into the court, clearly showing how the lower body initiates his directional change in the rally.
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10.2s |
John Yandell: Classical Tennis and Modern Tennis
John Yandell's swinging volley from the forecourt, filmed from a side angle. His hips stay slightly closed as he steps forward, with a pronounced knee bend and upward leg drive that extend through contact into his landing.
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4.8s |
Measuring Racket Head Speed: A New Study of the Sampras Serve
John Yandell’s serve from a central baseline position, filmed from a side CourtLevel angle. His legs load with a deep knee bend before extension, while his hips stay closed toward the net until just after the racquet passes up through contact.
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5.3s |
The Forehand Return of Serve Part 2: Extreme Grips
John Yandell’s forehand from the center of the baseline, filmed from a side CourtLevel angle. His stance transitions from a neutral setup into a semi-open position as he plants the outside foot, with a clear weight transfer forward as he steps into contact.
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8.1s |
The Wimbledon Final 2008: A Different Story? (14 of 22)
John Yandell’s court-side interaction during match play, filmed from a front camera angle. His relaxed continental grip on the racquet is evident, with the wrist loosely flexed rather than set in a firm hitting position.
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13.2s |
Your Strokes: TLM's Extreme Grip Forehand (14 of 16)
TLM's forehand from a neutral position, filmed from an animation-style reverse angle. The hips are visibly fully extended toward the target with a pronounced leg drive upward from a deep knee bend, emphasizing how the rear leg straightens through contact.
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4.8s |
Novak Djokovic's Forehand: The Forward Swing
John Yandell’s forehand and backhand stroke animations from a neutral court position, filmed from a composite side and rear angle. The shoulder and trunk rotations are broken into discrete frames, making the degree of shoulder turn and the timing of trunk uncoil within the kinetic chain visually distinct in each phase of the swing.
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7.3s |
Tomas Berdych's Forehand (14 of 16)
John Yandell's forehand rotation animation from a neutral position, filmed from a side angle. His follow-through carries his racquet across his body as his hips and shoulders unwind together, with his weight transferring forward into a balanced, ready stance.
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3s |
Modern Tennis: Where Are We Now? The Forehand Part 2
John Yandell’s forehand at contact from a neutral baseline position, filmed from a side CourtLevel angle. His semi-western grip is paired with a laid-back wrist that maintains lag into contact before beginning to pronate through the ball.
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12.3s |
Hitting Stances in the Modern Forehand
John Yandell’s forehand preparation sequence from the center of the baseline, filmed from a side CourtLevel angle. His semi-western grip is clearly visible as the wrist stays laid back through the unit turn, with a distinct increase in wrist lag just before the forward swing begins.
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13.5s |
John Yandell: Sampras Serve: Hip and Shoulder Rotation
John Yandell’s stroke animation is presented from a composite side and rear court perspective. His footwork pattern is broken down frame-by-frame, clearly separating the initial split step, the loading of the outside leg in an open stance, and the crossover recovery step back to neutral position.
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10.2s |
The Upward Swing: Federer's Serve in High Speed and High Def
John Yandell’s wrist flexion animation from a neutral position, filmed from a side angle. The sequence clearly depicts the forearm stable while the wrist moves from extension to flexion, emphasizing how controlled wrist flexion relates to grip pressure and racquet face orientation.
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2.9s |
Your Strokes: TLM's Extreme Grip Forehand (15 of 16)
TLM's forehand from a neutral baseline position, filmed from a side angle. The extreme semi-western grip is evident in the heavy racket lag, with the wrist laid back significantly before snapping forward into contact.
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6.9s |
The Modern Pro Slice: Part 2
John Yandell’s forehand from a neutral baseline position, filmed from a side angle. His shoulders rotate well past 90 degrees relative to the net, creating a pronounced trunk coil that uncoils sequentially from hips to shoulders as the racquet moves forward.
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15.2s |
The Forehand Return of Serve Part 2: Extreme Grips
John Yandell’s forehand from the center of the baseline, filmed from a side CourtLevel angle. His follow-through finishes high with the non-hitting hand staying in front of his torso as he recovers back into a neutral ready position.
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13.9s |
The Forehand Followthrough: Extension and Rotation
John Yandell's forehand finish from the center of the court, filmed from a side angle. His hips stay rotated toward the net while his legs remain flexed, showing a stable base and controlled deceleration phase after leg drive.
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10.3s |
The Two-Handed Backhand: The Hitting Stances
John Yandell’s forehand from a super wide position, filmed from a rear court-level angle. After contact he lets the racquet wrap fully across his body while his outside leg plants and pushes him back toward a neutral recovery position on the baseline.
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3.5s |
Tomas Berdych's Forehand (15 of 16)
John Yandell’s forehand from a neutral court position, filmed from a side angle. His semi‑western grip is evident in the laid-back wrist position on extension, with a pronounced wrap and forearm pronation as the wrist continues to release after contact.
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5.7s |
All Courters Rule on Wimbledon Grass (1 of 5)
John Yandell’s forehand from a neutral central position, filmed from a court-level side angle. His shoulders turn well past 90 degrees relative to the net with a pronounced trunk coil, then uncoil in sequence ahead of the arm swing, making the separation between hip and shoulder rotation especially clear.
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3.7s |
Novak Djokovic's Forehand: The Full Turn and the Backswing
John Yandell’s forehand animation from a central court position, filmed from a side angle. The sequence makes the delayed wrist release easy to see, with the hand staying well behind the racket head before the forearm and wrist uncoil into contact.
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6.4s |
John Yandell: The Forehand: Where Are We Now?
John Yandell’s animation of various backswings from a neutral baseline position, filmed from a side angle. The hip loading patterns and differing degrees of knee flexion in the legs are clearly visible as each backswing model transitions into the forward swing.
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9.4s |
The Wimbledon Final 2008: A Different Story? (15 of 22)
John Yandell’s animation sequence of multiple stroke types is filmed from a composite multi-angle view. Across the frames you can see his consistent semi‑western forehand and eastern backhand grips, with distinct wrist lag into contact and a controlled, late wrist pronation through the hitting zone.
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14.3s |
John Yandell: Classical Tennis and Modern Tennis
John Yandell’s forehand preparation and finish sequence from a central baseline position, filmed from a side CourtLevel angle. His hips load with a pronounced coil as the outside knee flexes deeply, then unwind with clear leg drive that straightens the rear leg into the forward rotation.
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7s |
The Upward Swing: Federer's Serve in High Speed and High Def
John Yandell’s forehand from a neutral position, filmed from a side CourtLevel angle. At contact his racket face is nearly square to the ball with the strings slightly brushing up the back, and the racket continues on an upward, wrapping path around his body immediately after impact.
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4.6s |
John Yandell: The Forehand: Where Are We Now?
John Yandell's forehand from the center of the court, filmed from a rear CourtLevel angle. His shoulders turn well past 90 degrees relative to the baseline, creating a pronounced trunk coil that uncoils in sequence from hips to shoulders as the racquet accelerates forward.
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11.9s |
The Wimbledon Final 2008: A Different Story? (16 of 22)
John Yandell's serve from the center of the baseline, filmed from a rear court-level angle. His motion features a pronounced shoulder-over-shoulder action with deep trunk coil in the trophy phase followed by a clearly sequenced uncoiling of the torso ahead of the arm swing.
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7.8s |
The Forehand Return of Serve Part 2: Extreme Grips
John Yandell's FH from the baseline, filmed from a side angle. His hips and legs execute a clear cross-step pattern, with the rear leg driving across and the hips rotating through as the outside foot plants and pushes into the shot.
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11.1s |
Novak Djokovic's Forehand: The Full Turn and the Backswing
John Yandell’s groundstroke animation sequence from center court, filmed from a side angle. The hips and legs move through a clearly defined loading and unloading pattern, with deep knee flexion into the racquet drop followed by a pronounced leg drive that straightens the knees as the hips rotate through contact.
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15s |
The Forehand Followthrough: Extension and Rotation
John Yandell's forehand from the center of the court, filmed from a rear court-level angle. His semi-western grip is paired with a pronounced windshield-wiper wrist action, with the racket face closing and the wrist actively ulnar deviating across the ball after contact.
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6.2s |
The Modern Pro Slice: Part 2
John Yandell’s forehand finish from the center of the court, filmed from a side angle. His stance shifts from a semi-open base into a controlled forward step, with a clear transfer onto the front foot as his rear leg releases and pivots around to complete the kinetic chain.
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17.4s |
Three Secrets for Destroying Pushers (16 of 16)
John Yandell's inside-out forehand drop shot from the middle of the court, filmed from a rear court-level angle. His semi-western grip is paired with a soft, laid-back wrist that stays relaxed through the takeback and then subtly cups under the ball at contact to create underspin and touch.
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5.4s |
The Two-Handed Backhand: The Hitting Stances
John Yandell's jumping one-handed backhand from the baseline, filmed from a rear court-level angle. At contact his racket face is nearly square to the ball with a slightly closed angle, and the strike occurs around shoulder height with a steep upward swing path that accelerates the racket head through the hit.
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16s |
Novak Djokovic's Forehand: The Full Turn and the Backswing
John Yandell’s forehand from the center of the court, filmed from a side CourtLevel angle. His shoulders make a pronounced unit turn with the trunk coiling well past 90 degrees, then uncoiling in sequence from hips to shoulders to arm as the racquet accelerates toward contact.
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4s |
The Wimbledon Final 2008: A Different Story? (17 of 22)
John Yandell's neutral stance baseline forehand from the center of the court, filmed from a front animation angle focused on his face and upper body. His follow-through finishes high with the non-hitting hand settling in front of his torso, and he quickly returns his racket to a neutral ready position as his weight comes back to a balanced stance.
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22.8s |
The Forehand Return of Serve Part 2: Extreme Grips
John Yandell’s forward swing animation for the forehand, filmed from a neutral instructional angle. The sequence clearly illustrates the racket face staying slightly closed through contact with the ball struck around waist height and the racket head accelerating forward and up along a low-to-high swing path.
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13.8s |
John Yandell: Classical Tennis and Modern Tennis
John Yandell’s forehand in-air stroke sequence from a neutral court position, filmed from a side angle. His follow-through wraps across his body with his weight landing on the front foot, and he quickly lets both hands settle into a compact ready position for the next shot.
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3.9s |
The Upward Swing: Federer's Serve in High Speed and High Def
John Yandell’s serve from a central baseline position, filmed from a side CourtLevel angle. His follow-through finishes with the hitting arm pronating fully across his body while his weight transfers into the court and he quickly brings both hands back toward a neutral ready position for the next shot.
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3.8s |
John Yandell: The Forehand: Where Are We Now?
John Yandell’s forehand from the middle of the court, filmed from a side angle. His hips load with a pronounced coil as his knees flex deeply, then uncoil with a strong upward leg drive that straightens the front leg through contact.
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7.6s |
John Yandell: The Forehand: Where Are We Now?
John Yandell’s forehand from the middle of the court, filmed from a side angle. His follow-through wraps across his body with his weight moving into the court, and he quickly returns his non-hitting hand to the racquet throat as he recovers toward a neutral ready position.
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5.9s |
Novak Djokovic's Forehand: The Full Turn and the Backswing
John Yandell's forehand from the middle of the court, filmed from a side angle. His follow-through finishes high with the non-hitting hand counterbalancing behind him as his weight transfers fully onto the front foot before he recovers toward a neutral ready position.
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3.6s |
The Forehand Return of Serve Part 2: Extreme Grips
John Yandell's forehand finishes from the center of the court, filmed from a side CourtLevel angle. His recovery includes a complete wrap of the racquet across his body with the non-hitting hand counterbalancing and then returning quickly toward a neutral ready position as his weight settles back to the baseline.
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13.3s |
The Upward Swing: Federer's Serve in High Speed and High Def
John Yandell’s forehand from a neutral position, filmed from an animation-style side angle. His hips and legs clearly load with a deep knee bend and then unwind in sequence, with the rear hip driving forward as the front leg straightens through contact.
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4.1s |
The Upward Swing: Federer's Serve in High Speed and High Def
John Yandell's wide serve from the deuce court, filmed from a rear court-level angle. His shoulders and trunk coil deeply away from the court before uncoiling in a clearly sequenced rotation that leads the arm into contact.
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41.3s |
John Yandell: The Forehand: Where Are We Now?
John Yandell’s forward torso rotation animation, filmed from a side angle. The sequence makes it easy to see how the wrist stays laid back in a stable, semi-continental orientation as the torso unwinds forward toward contact.
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19.1s |
John Yandell: Classical Tennis and Modern Tennis
John Yandell’s forehand from the middle of the court, filmed from an animation-based side view. His hips and legs are shown in a clear loading pattern with deep knee bend and sequential hip unwinding that drives the forward swing.
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3.8s |
The Forehand Return of Serve Part 2: Extreme Grips
John Yandell’s forehand from the center of the court, filmed from a rear angle. His semi-western grip is easy to see in the way his wrist stays laid back through the forward swing before releasing slightly at contact.
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5.6s |
Forehand
John Yandell’s animation sequence of groundstroke mechanics from center court, filmed from a composite multi-angle court-level view. The hips and legs are shown progressing through the loading phase into rotation, with clear knee flexion, hip coil, and leg drive timing illustrated frame by frame.
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11.4s |
Balance Checkpoints: The Forehand
John Yandell’s stroke animation from a central baseline position, filmed from a side CourtLevel angle. The racket’s path and contact point are broken into discrete frames, making the exact racket face angle at impact and immediate post-contact position clearly visible.
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5.1s |
Balance Checkpoints: The Forehand
John Yandell’s stroke animation is presented from a side view, illustrating his full-body mechanics in profile. The hips clearly coil and uncoil against a stable base, with noticeable knee flex in the loading phase and a strong upward leg drive into the shot.
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52s |
Balance Checkpoints: The Forehand
John Yandell's stroke animation is presented from a composite, CourtLevel side angle. His footwork pattern is broken into distinct frames, making it easy to see the exact timing of his split-step and transition into an open stance as he loads on the outside leg.
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6.9s |
Balance Checkpoints: The Forehand
John Yandell’s stroke animation from a central baseline position, filmed from a side CourtLevel angle. His footwork pattern is broken into discrete frames that clearly separate the split step, first adjustment step, and stance setup before contact.
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8.5s |
Balance Checkpoints: The Forehand
John Yandell’s animated stroke sequence from a central baseline position, filmed from a side CourtLevel angle. The animation clearly depicts the racket face staying slightly closed at contact, with the ball struck just in front of the lead hip as the racket accelerates upward along a steep, modern topspin swing path.
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2s |
Balance Checkpoints: The Forehand
John Yandell’s stroke animation from a central court position, filmed from a side angle. His follow-through finishes with the racquet wrapping across his body while he regains a neutral stance, with his non-hitting hand helping him square up into a ready position for the next shot.
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8.3s |
Balance Checkpoints: The Forehand
John Yandell’s stroke animation is presented from a neutral court position, filmed from a side angle. His follow-through finishes with the racquet wrapping fully across his body while his weight transfers onto his front foot, quickly returning him toward a balanced, ready stance.
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8.4s |
Balance Checkpoints: The Forehand
John Yandell’s full-stroke animation is presented from a composite side and rear court-level angle. The sequence makes the degree of shoulder turn and the timing of the trunk uncoil relative to the hitting arm especially clear, emphasizing how the torso rotation leads the kinetic chain into contact.
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19.7s |
Balance Checkpoints: The Forehand
John Yandell’s animation sequence of the full stroke motion is presented from a composite, multi-angle perspective. The frames make it easy to see the progressive increase in wrist lag during the forward swing and the exact moment the wrist begins to uncoil into contact.
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15s |
Balance Checkpoints: The Forehand
John Yandell’s neutral-position forehand technical animation, filmed from a side composite angle. The contact point is illustrated with the racket face slightly closed and the strings meeting the ball just in front of the lead hip at roughly waist height.
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7.2s |
The Myth of the Magic Bullet
John Yandell's stroke animation from a central court position, filmed from a side CourtLevel angle. The animation makes the contact point and racket path easy to see frame-by-frame, including the exact racket face angle at impact and how it changes immediately after contact.
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5.9s |
Balance Checkpoints: The Forehand
John Yandell’s animation sequence of the stroke is presented from a composite, side-based CourtLevel perspective. The animation clearly depicts the progressive increase in wrist lag into the slot position, followed by a distinct, frame-by-frame pronation and release through contact.
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10.9s |
What I Learned from the Inner Game of Tennis: Part 4 (1 of 18)
John Yandell’s mental game session from mid-court, filmed from a front angle. His relaxed, upright stance and small adjustment steps between points emphasize a calm ready position rather than an intense split-step or aggressive movement pattern.
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6s |
Your Strokes: Bastiaan One Handed Backhand (1 of 92)
Bastiaan’s one-handed backhand from a neutral baseline position, filmed from a side animation angle. His eastern backhand grip is clearly visible, with a laid-back wrist creating noticeable lag before extending through contact.
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3.1s |
Your Strokes: Gavin Serve (1 of 65)
Gavin's serve from a central baseline position, filmed from a side angle. His rhythmic knee bend into a platform stance is clear, with a small hop into the court on landing that sets up an immediate recovery step toward the ready position.
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6.9s |
Your Strokes: Ryan Serve (1 of 74)
Ryan’s serve from a central baseline position, filmed from a side CourtLevel angle. His continental grip is clear, with a relaxed wrist that pronates aggressively through contact to snap the racquet face up and through the ball.
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15.3s |
New Teaching Method: Slice Backhand Ball Flights (1 of 20)
John Yandell’s slice backhand animation from a neutral position, filmed from a side angle. His follow-through finishes high with the hitting arm extending forward while his weight transfers onto the front foot and the non-hitting hand remains back to aid torso control and recovery.
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20.6s |
Balance Checkpoints: The Forehand
John Yandell’s footwork and stance animation is presented from a neutral, instructional camera angle. His split-step timing, weight transfer, and transition into an open or neutral stance are broken down frame by frame to clarify each adjustment step.
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9.1s |
Tour Strokes: Mysteries of Medvedev's Forehand (1 of 83)
John Yandell’s forehand from a neutral baseline position, filmed from a side CourtLevel angle. His shoulders turn well past 90 degrees relative to the net, creating a pronounced trunk coil that then uncoils sequentially from hips to shoulders as the racquet accelerates forward.
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9.9s |
Serving Mystery: Hit Up Or Hit Down? (1 of 66)
John Yandell’s serve from a stationary teaching position, filmed from a front animation-style angle. His hips and legs are illustrated with clear knee flex into the loading phase and an upward leg drive that extends the hips vertically into contact.
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10.4s |
Technical Flaws in Pro Two Handers: John Isner (1 of 83)
John Yandell’s two-handed backhand from a neutral baseline position, filmed from a court-level side angle. After contact he extends his follow-through high with both hands in front of his body while his weight continues moving into the court, bringing him quickly back into a compact ready position.
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5.9s |
Technical Flaws in ProTwo Handers: Jack Sock (1 of 92)
John Yandell’s two-handed backhand from a neutral baseline position, filmed from a court-level rear angle. The racket face stays slightly closed at contact with the ball meeting the strings just in front of his lead hip at about waist height, and the racket head accelerates on an upward, inside-out path through the hitting zone.
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15s |
Mysteries of the Heavy Ball:Speed and Spin in the Serves of Pete Sampras and Greg Rusedski (1 of 7)
John Yandell’s serve from the Deuce side, filmed from a CourtLevel rear angle. His footwork shows a controlled platform stance with minimal foot movement during the loading phase and a clear, balanced landing on his front foot into the court after contact.
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7.8s |
Roger Federer's Serve
John Yandell’s forehand from the deuce side, filmed from a rear court-level angle. At contact his racket face is nearly square to the net with the ball struck slightly in front of his lead hip, and the upward swing path is evident as the racket head accelerates from below the ball.
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12.4s |
Your Strokes: Danielle Dotzenrod Two-Handed Backhand
Danielle's forehand from a neutral court position, filmed from a side angle. At contact her racket face is slightly closed with the ball meeting the strings around waist height as the racket accelerates forward and upward along a low-to-high path.
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John Yandell: Del Potro's Forehand Analyzed (1 of 14)
John Yandell’s forehand from the center of the baseline, filmed from a rear court-level angle. His hips and legs load with a pronounced knee bend before uncoiling, with the rear hip driving forward as the outside leg pushes up and into the court.
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2.2s |
Your Srokes: Jeff Greenwald Serve (1 of 8)
Jeff Greenwald's serve from a central baseline position, filmed from a side CourtLevel angle. His shoulders rotate well past 90 degrees relative to his hips on the trophy phase, then the trunk uncoils sequentially from the pelvis upward into contact.
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4.8s |
John Yandell: A New Teaching System Introduction (1 of 5)
John Yandell’s stroke variety sequence from a central baseline position, filmed from a mixed set of angles. Across the different strokes, the contact points show distinct racket face angles and swing paths, from more closed and low-to-high on topspin drives to slightly open and more linear through the ball on flatter patterns.
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6.5s |
What is ISR? Part 3: One Handed Backhand
John Yandell’s forehand from the center of the court, filmed from a rear court-level angle. His follow-through finishes over the shoulder with the non-hitting hand extending back for balance before he recovers to a neutral ready position.
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15.2s |
The Osmosis Clinic: Two-Handed Backhand
John Yandell's two-handed backhand from the center of the baseline, filmed from a side CourtLevel angle. His follow-through finishes high with the racket wrapping around his lead shoulder as his weight transfers onto his front foot and he quickly regains a neutral ready position.
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8.4s |
Your Strokes: John Daly Serve Part 1 (1 of 7)
John Daly's serve from the baseline, filmed from a side CourtLevel angle. At contact, the racket face is nearly square to the ball with the contact point well above his head, and the racket head accelerates upward and forward along a steep swing path.
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7.2s |
Your Strokes: Gavin Rossdale Forehand (1 of 7)
Gavin Rossdale's forehand from a neutral baseline position, filmed from a side CourtLevel angle. His shoulders rotate well past 90 degrees relative to the net before uncoiling, with the trunk leading the forward swing and the hitting arm trailing in a clear kinetic chain sequence.
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4.3s |
Tour Strokes: Andy Murray's Serve (1 of 6)
John Yandell’s Andy Murray serve animation from a neutral position, filmed from a side angle. His footwork sequence into the pinpoint stance is clearly visible, including the initial platform setup, rear-foot draw-up, and synchronized knee bend before the upward drive.
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5.2s |
The Myth of the Recovery Step: Pro Backhands
John Yandell’s forehand stroke animation from a neutral baseline position, filmed from a side angle. The contact point is clearly in front of his body with the racket face slightly closed and the racket head accelerating upward along a steep low-to-high swing path.
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14.3s |
Andy Murray and the Open Stance Forehand
John Yandell’s forehand from the middle of the court in an open stance, filmed from a side angle. His footwork features a small adjustment hop into a wide open stance, followed by a clear pivot on the outside leg that anchors the swing before he recovers.
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5.5s |
Your Strokes: Arthur Gosnell: Serve (1 of 12)
Arthur Gosnell's serve from the center of the baseline, filmed from a side animation angle. His motion features a pronounced knee bend into a strong trophy stance, with a clear upward leg drive that transfers weight from the back foot to the front foot during contact.
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7.7s |
John Yandell: The One Handed Pro Backhand: Part 3
John Yandell’s forehand backswing medley from the center of the baseline, filmed from a side CourtLevel angle. His follow-through consistently finishes high with the non-hitting hand counterbalancing in front of his body before he returns to a compact ready position.
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16.8s |
What I Learned from the Inner Game of Tennis: Part 3 (1 of 19)
John Yandell tracks the ball’s flight from a neutral court position, filmed from a court-level angle. His relaxed continental grip is evident in the minimal wrist tension, with almost no wrist snap as he visually follows the ball’s trajectory.
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4.6s |
Your Strokes: Barry Gaines Forehand (1 of 7)
Barry's forehand from the center of the baseline, filmed from a rear court-level angle. His follow-through finishes high across his body while his non-hitting hand extends back for balance before he recovers to a neutral ready position.
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7.9s |
Your Strokes: Gayahtri Evani: Two Handed Backhand (1 of 6)
Gayahtri Evani's two-handed backhand preparation from a neutral baseline position, filmed from a side angle. Her semi-western left-hand grip and relatively firm right wrist create a noticeable wrist lag as the racquet drops behind her before starting the forward swing.
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5.4s |
Your Strokes: Sumner Chase Two-Handed Backhand (1 of 8)
Sumner Chase's two-handed backhand from the baseline, filmed from a side court-level angle. His follow-through carries the racquet up and across his body while his weight transfers onto the front foot, bringing him quickly back toward a neutral ready position.
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3.5s |
John Yandell: Your Strokes: Paul Goldstein's Serve (1 of 9)
Paul Goldstein's serve from a central baseline position, filmed from a rear court-level angle. At contact his racket face is slightly tilted forward with the ball struck just above full extension, and the racket head accelerates steeply upward along the right side of his body.
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20.3s |
Tomas Berdych's Forehand (1 of 16)
John Yandell’s animation of Tomas Berdych’s forehand from a neutral court position, filmed from a rear angle. The contact point is clearly in front of the body with the racket face slightly closed and the racket head accelerating upward along a steep low-to-high path through the ball.
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7.4s |
Your Strokes: Bob Farese: Forehand Volley (1 of 6)
Bob Farese's forehand volley from the net, filmed from a side angle. His compact split-step into a short forward stride sets up a stable neutral stance with minimal weight transfer before contact.
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3.7s |
Two "Modern" Forehands
John Yandell’s animation sequence of both forehand and backhand strokes from a central baseline position, filmed from a CourtLevel angle. The hips and legs clearly cycle through deep knee flexion into a strong upward leg drive, with the hips uncoiling from a loaded, closed position into a more open alignment through contact.
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10.2s |
Clay Tech: The Clay Court Solution? (1 of 3)
John Yandell’s stroke analysis animation is presented from a composite, instructional camera angle. The sequence emphasizes how grip position and wrist alignment are tracked frame-by-frame, making subtle changes in wrist angle and grip pressure clearly visible throughout the motion.
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4.4s |
Your Strokes: Bryan Yeager One Handed Backhand (1 of 10)
Bryan Yeager's one-handed backhand from a neutral baseline position, filmed from a side court-level angle. His shoulders rotate well past 90 degrees in the unit turn, with a clearly visible sequential uncoiling of the trunk leading the arm and racquet through contact.
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8.2s |
Tennisplayer Approaches 20! (1 of 13)
John Yandell’s stroke analysis animation is presented from a neutral court position, filmed from a side angle. The side view makes the progressive wrist pronation and controlled grip pressure changes across the swing path clearly visible frame by frame.
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9.7s |
Your Strokes: Olivier Lingband: Serve (1 of 7)
Olivier Lingband's serve toss catching drill from the center of the baseline, filmed from a court-level rear angle. After each toss he brings his tossing arm back down into a relaxed ready position while keeping his stance stable over the baseline to prepare for the next repetition.
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10.2s |
The Stringbed and Pro Contact
John Yandell's serve from the center of the baseline, filmed from a court-level angle. His continental grip is clearly visible with a relaxed hand, and you can see distinct wrist pronation through contact as the racquet edge leads and then turns outward toward the target.
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3.7s |
Your Strokes: Two Handed Backhand Stances (1 of 7)
Player's two-handed backhand in a closed stance from the baseline, filmed from a side angle. The hips stay more square to the sideline with a pronounced knee bend on the back leg, loading into the ground before driving forward into the shot.
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4.9s |
The Extreme Closed Stance: The Pro One Handed Backhand
John Yandell's forehand in a closed stance from the baseline, filmed from a side CourtLevel angle. After contact, his follow-through wraps across his body while his weight continues moving forward into the court, finishing in a compact, ready position.
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9.6s |
March 2007 Issue
A right-handed player's neutral forehand from a closed stance near the middle of the baseline, filmed from a side CourtLevel angle. The video clearly shows the rear hip staying closed as the front knee bends deeply before driving upward into the ball.
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14.4s |
March 2007 Issue
John Yandell's forehand from the center of the court in a closed stance, filmed from a court-level side angle. His follow-through finishes across his body with the non-hitting hand staying back for counterbalance before he returns to a neutral ready position.
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14.4s |
Novak Djokovic's Forehand: The Full Turn and the Backswing
John Yandell’s stroke animation sequence from a central court position, filmed from a side angle. The animation clearly illustrates the progression of wrist lag into pronation through contact, with a distinct increase in wrist snap as the racquet accelerates through the hitting zone.
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8s |
The Two-Handed Backhand: The Forward Swing
John Yandell’s forehand contact-point sequence from a central baseline position, filmed from a side CourtLevel angle. His stance shifts between neutral and semi-open as he adjusts his feet with small, precise adjustment steps to align the body exactly at contact.
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13s |
Spin Rates and Spin Axis in Elite Serving (1 of 10)
John Yandell's serve animation from the center of the baseline, filmed from a mixed side and rear composite angle. The sequence makes the contact point and racket face angle at impact easy to compare frame by frame, clearly contrasting differences in racket head speed and swing path between the overlaid serves.
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9.5s |
The Myth of the Recovery Step: Forehand
Novak Djokovic's stroke biomechanics animation from a central court position, filmed from a side angle. His footwork pattern is broken down into distinct phases, including the split step into a wide open stance and the subsequent recovery steps back toward a neutral base position.
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7s |
The Myth of the Recovery Step: Forehand
John Yandell’s animation of multiple strokes is presented from a composite, instructional camera angle. His footwork and stance patterns are broken into discrete frames, making it easy to see the timing of his split step and the transition into open or neutral stances on different shots.
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10.2s |
Your Strokes: Drew Forehand (1 of 48)
Drew's forehand from a neutral position, filmed from a court-level angle. After contact his follow-through finishes high across his body while his non-hitting hand extends back slightly, and he quickly returns both hands to the racquet in a ready position.
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14.6s |
Your Strokes: Danielle Dotzenrod: Forehand Evolution (1 of 7)
Danielle Dotzenrod's forehand from a neutral court position, filmed from a side animation angle. Her hips load with a clear coil against a strong knee bend, then unwind as her rear leg drives forward to initiate rotation into contact.
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4.7s |
Your Strokes: Eva So: Forehand (1 of 6)
Eva's forehand from the center of the baseline, filmed from a side CourtLevel angle. Her hips stay relatively closed with limited hip-shoulder separation, and her knees show only a modest bend, reducing the upward leg drive through contact.
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15.7s |
The Forehand Return of Serve Part 2: Extreme Grips
John Yandell's forehand from the center of the court, filmed from a rear angle. After contact his follow-through wraps fully across his body while his non-hitting hand counterbalances behind him before he recovers back into a neutral ready position.
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11.9s |
Grip Structures in the Modern Forehand Part 2
John Yandell’s forehand from the center of the court, filmed from a rear court-level angle. After contact his follow-through wraps across his body while his non-hitting hand extends back for counterbalance, and he quickly returns to a neutral ready position with his weight recovering toward the baseline.
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8.1s |
Serve and Volley: Three Critical Shots
John Yandell’s full-stroke animation sequence from a neutral position, filmed from a side angle. The side view makes it easy to see the degree of shoulder turn relative to the hips and the timing of the trunk uncoil initiating before the arm accelerates forward.
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7s |
Serve and Volley: Three Critical Shots
John Yandell’s stroke animation from a central court position, filmed from a side angle. The sequence makes it easy to see the consistent grip throughout the motion and the delayed wrist release into contact, with a distinct pronation phase clearly visible frame by frame.
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16.1s |
Serve and Volley: Three Critical Shots
John Yandell’s forehand from the center of the court, filmed from a side angle. His footwork features a well-timed split step into a semi-open stance, with a small adjustment step before contact and a clear recovery step back toward a neutral court position.
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6.6s |
Serve and Volley: Three Critical Shots
John Yandell’s full-stroke animation sequence filmed from a composite multi-angle view. The hip rotation and leg action can be tracked frame by frame, making it easy to see how his knees load and drive as his hips uncoil through the stroke.
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6.6s |
Serve and Volley: Three Critical Shots
John Yandell’s forehand from the center of the baseline, filmed from a side CourtLevel angle. His footwork includes a well-timed split step into a semi-open stance, followed by a controlled pivot and recovery step that returns him quickly to a neutral position on the baseline.
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6.5s |
The Serve and Swinging Volley: Next Revolution? (1 of 30)
John Yandell’s serve animation from the center of the baseline, filmed from a composite multi-angle court-level view. The contact sequence clearly displays the racket face moving from a closed position in the drop to a slightly angled, pronated position at impact with the ball just above full arm extension.
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11.6s |
Serve and Volley: Three Critical Shots
John Yandell’s stroke mechanics are analyzed from a neutral court position, filmed from a side CourtLevel angle. His footwork pattern is broken down frame-by-frame, showing the timing of his split step into a neutral stance and the sequential loading and unloading of his legs during the stroke.
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11.6s |
Your Strokes: Evan Chiang Serve (1 of 20)
Federer’s serve from a central baseline position, filmed from a side angle. At contact his racket face is slightly closed with the arm fully extended upward, and the racket head accelerates on a steep upward path through the ball.
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7.5s |
September 2006 Issue
John Yandell’s FH from the Deuce side, filmed from a CourtLevel angle. After contact he extends his racquet out toward the target with his non-hitting hand staying back for counterbalance before both hands return quickly to a compact ready position.
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17.1s |
September 2006 Issue
Federer and Gasquet rally from a neutral baseline position, filmed from a side CourtLevel angle. Their hips load with noticeable knee flexion before each groundstroke, with strong leg drive forward and clear hip rotation into the ball.
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17.1s |
Your Strokes: Carl Sutherland: Slice Backhand (1 of 7)
Federer's slice backhand from the baseline, filmed from a side CourtLevel angle. His follow-through extends forward with the racquet face staying open while his weight transfers onto the front foot as he begins to recover toward a neutral ready position.
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2.9s |
Grip Structures in the Modern Forehand
John Yandell’s forehand from the center of the court, filmed from a rear court-level angle. At contact his racket face is slightly closed with the ball struck around waist height, and the racket head accelerates steeply upward along a low-to-high path.
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5.6s |
Grip Structures in the Modern Forehand
John Yandell’s forehand from the center of the court, filmed from a rear court-level angle. His follow-through wraps across his body while his non-hitting hand extends back for counterbalance before he recovers into a compact ready position.
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5.6s |
How Roger Federer Won Wimbledon 2006 (1 of 6)
John Yandell's serve from a central baseline position, filmed from a rear court-level angle. His continental grip stays relaxed through the trophy phase while the wrist pronates aggressively after contact, with the racquet face turning outward in the follow-through.
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2.9s |
The ATP Two Handed Backhand: The Forward Swing
John Yandell's forehand forward swing sequence from a neutral baseline position, filmed from a side angle. His semi-western grip is evident in the way the wrist stays laid back through the forward swing before releasing slightly just after contact.
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10.1s |
The ATP Two Handed Backhand: The Forward Swing
John Yandell's forward swing animation from a neutral position, filmed from a side angle. The sequence emphasizes how his wrist maintains a laid-back position through the forward swing before unhinging into contact, clearly illustrating the timing of wrist lag and release.
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4.6s |
Your Strokes: Francis Tiafoe: Serve (1 of 7)
Francis Tiafoe's serve from a central baseline position, filmed from a side CourtLevel angle. His deep knee bend and aggressive leg drive into the court are clearly visible, along with strong hip extension as he uncoils upward into contact.
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6.2s |
Your Strokes: Alex Mikhailov One-Handed Backhand (1 of 8)
Gaudio's one-handed backhand from the baseline, filmed from a side angle. The racket face is slightly closed at contact with the ball struck around waist height, and the racket head accelerates upward along a steep, brushing swing path.
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4.8s |
Tour Strokes: Coco Gauff Forehand (1 of 5)
John Yandell's forehand from a neutral baseline position, filmed from a side CourtLevel angle. His semi-western grip and pronounced wrist lag are clearly visible as the racquet head trails well behind the hand before unwinding into contact.
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16.6s |
What Are Customized Racket Frames?
John Yandell's groundstroke from the center of the court, filmed from a side angle. His follow-through finishes high with the hitting arm extending across his body while his weight transfers fully onto the front foot before he quickly recovers toward a neutral ready position.
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12s |
Novak Djokovic's Forehand: A New Synthesis
John Yandell’s forehand grip and wrist position are analyzed from a neutral, instructional camera angle. His semi-western grip is paired with clear wrist lag on the forward swing, with the wrist maintaining a laid-back angle until just before contact.
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5.7s |
Roger Federer versus Rafael Nadal: Round 3 (1 of 5)
John Yandell’s tactical sequence from a central baseline position, filmed from a rear court-level angle. His small adjustment hops into a semi-open stance and quick recovery shuffle steps illustrate how he maintains ideal positioning between forehand and backhand options during the point construction.
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2.8s |
Myths About Low to High on the Pro Forehand
John Yandell's animation of hand movement in the stroke, filmed from a composite instructional angle. The sequence emphasizes how his hand path and grip orientation relate to stance transitions, including the timing of the split step into an open or neutral base.
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14.9s |
July 2005 Issue
Federer’s forehand from the Deuce side, filmed from a rear CourtLevel angle. At contact the racket face is slightly closed with the ball struck just in front of his lead hip, and the racket head accelerates upward on a steep low-to-high path.
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6.3s |
July 2005 Issue
John Yandell's two-handed backhand from a neutral baseline position, filmed from a rear court-level angle. The video makes it easy to see his relatively firm bottom-hand grip on the racquet with minimal wrist flex, while the top hand drives the stroke with a stable, slightly laid-back wrist through contact.
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6.3s |
May 2007 Issue
Federer's FH from the center of the baseline, filmed from a rear CourtLevel angle. His split-step into a semi-open stance is followed by a quick adjustment hop that aligns his right leg behind the contact point before he drives through the shot.
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4.4s |
May 2007 Issue
John Yandell’s intense medley sequence from a central baseline position, filmed from a rear CourtLevel angle. His relatively relaxed semi-western forehand grip and the delayed wrist release into contact are clearly visible as the racquet accelerates through the hitting zone.
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4.4s |
Your Strokes: Jacky Duchamp Forehand (1 of 9)
Jacky Duchamp's forehand from the center of the baseline, filmed from a side CourtLevel angle. His shoulders turn well past 90 degrees relative to the net while the trunk coils against the hips, then uncoils sequentially from the pelvis upward into the hitting arm.
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5.5s |
Tour Strokes: Jensen Brooksby Serve (1 of 5)
John Yandell's serve from a stationary animation view, filmed from a mixed front-side analytical angle. The grip detail and wrist action are clear, with a firm continental grip and pronounced wrist pronation through contact emphasized frame by frame.
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5s |
Indian Wells 2009: Only the Name Has Changed?? (1 of 2)
John Yandell's serve from a central baseline position, filmed from a side CourtLevel angle. His continental grip is clearly visible with a loose hand and pronounced wrist pronation driving the racquet up and through the contact.
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6.3s |
Your Strokes: Jelena Jankovic: Serve (1 of 5)
Jelena Jankovic's serve from a central baseline position, filmed from a side CourtLevel angle. At contact her racket face is slightly closed with the ball struck just above full extension of her tossing arm, and the racket head whips up on a steeply upward path for pronounced topspin.
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6.3s |
Your Strokes: Jonathan Ryle Serve
Jonathan’s groundstroke from the center of the court, filmed from a side angle. His small adjustment steps into a neutral stance before contact and the quick recovery step back to ready position are clearly visible in his footwork pattern.
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5.5s |
Tour Strokes: Justine Henin Serve (1 of 7)
John Yandell’s serve from a central baseline position, filmed from a rear court-level angle. His footwork includes a rhythmic rocker step into a pinpoint stance, with the back foot drawing up neatly beside the front foot before he drives up into the ball.
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5.8s |
Tour Strokes: Kei Nishikori Serve (1 of 7)
John Yandell’s serve from a central baseline position, filmed from a side CourtLevel angle. His footwork detail includes a pinpoint stance with the back foot drawing up to the front foot before the knee bend, then a clear forward drive into the court on landing.
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8s |
Your Strokes: Kyle Doppelt Serve Contact Point (1 of 7)
Kyle’s serve from a central baseline position, filmed from a rear angle. His hips stay relatively closed with limited leg drive, as his knees show only a slight bend before pushing up into the contact.
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7.1s |
Your Strokes: Kyle Doppelt Serve (1 of 5)
Kyle Doppelt's serve from a central baseline position, filmed from a rear court-level angle. At contact, his racket face is slightly tilted upward with the ball struck just above full arm extension, and the racket head accelerates steeply up the back of the ball into a pronounced upward swing path.
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5.1s |
Your Strokes: Kyle LaCroix Forehand (1 of 5)
Kyle LaCroix's forehand from the center of the baseline, filmed from a rear court-level angle. His follow-through finishes high across his body with the non-hitting hand retracting toward his torso as he recovers quickly back into a balanced ready position.
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2.5s |
Why Rafa Crushed Roger at the French 2007 (1 of 11)
John Yandell’s forehand from the Deuce side, filmed from a CourtLevel rear angle. His semi-western grip is evident in the closed racket face on the backswing, with a pronounced wrist lag that unwinds into a clear pronation through contact.
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16.4s |
Your Strokes: Larry Landsman: Slice Backhand (1 of 18)
Larry's slice backhand from the center of the court, filmed from a side angle. His hips stay relatively closed with a pronounced knee bend on the front leg, showing how he drives slightly upward through the shot with a stable base.
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5.9s |
Tour Strokes: My Take on Leylah Fernandez's Forehand (1 of 8)
John Yandell’s animated analysis of Leylah Fernandez’s forehand from a neutral baseline position, filmed from a rear court-level angle. The sequence makes it easy to see her quick split step into an open stance and the way she uses small adjustment steps to line up the contact before recovering.
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6s |
Federer's Serve Locations: 1st Serve Ad Court
John Yandell’s movement and stance animations from center court, filmed from a CourtLevel angle. His split-step timing into various open and neutral stances is clearly visible, along with the first recovery step patterns after each directional move.
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14s |
The Myth of the Archer's Bow
John Yandell’s forehand from the center of the baseline, filmed from a side CourtLevel angle. His shoulders and trunk load into a deep coil with the hitting-side shoulder turning well past the net post, then uncoil in a clearly sequenced rotation that leads the arm and racket into contact.
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5.7s |
Tour Strokes: Maria Sharapova Serve (1 of 5)
John Yandell’s animation of Maria Sharapova’s serve from a side view, filmed from a CourtLevel angle. Her follow-through finishes with the hitting arm wrapping across her body while her weight lands clearly on the front foot, quickly bringing her non-hitting hand back toward a ready position.
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8.2s |
Your Strokes: "Modern" Club Play: Fully Open Stance (1 of 10)
Mariana's forehand from the center of the baseline, filmed from a side CourtLevel angle. Her feet stay in a fully open stance through contact, with a small hop and pivot on the outside foot instead of stepping into the ball.
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7.4s |
Further Thoughts: The Serve (1 of 20)
John Yandell’s serve from a stationary teaching position, filmed from a mixed-angle animation sequence. The shoulder and trunk rotation are broken into clear frame-by-frame segments, making the degree of shoulder turn and the timing of trunk uncoil relative to the hitting arm distinctly visible.
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8.3s |
Roger Federer's Warm Up (1 of 7)
John Yandell’s mixed stroke medley from center court, filmed from a court-level angle. The contact points across his strokes clearly show the racket face staying stable through impact with a compact swing path that accelerates just before contact.
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32.2s |
All Court Tennis: The Grips
John Yandell’s multi-stroke animation medley from a central baseline position, filmed from a composite side and rear angle. The sequences make it easy to see his consistent semi-western forehand grip and the pronounced wrist lag that unwinds into a clean, controlled pronation right at contact.
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13.3s |
Wimbledon Journal (1 of 8)
John Yandell's forehand from the center of the court, filmed from a court-level side angle. His hips load by turning sideways with a deep knee bend, then uncoil as his rear leg drives forward, showing a clear sequence from leg push to hip rotation.
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8.1s |
The One Handed Topspin Backhand Part 2
John Yandell’s groundstroke from a neutral baseline position, filmed from a side CourtLevel angle. His hips load by turning away from the net while the knees sink into a deep bend, then the legs drive upward and forward to unwind the hips into contact.
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23.8s |
September 2007 Issue
John Yandell’s footwork and stance medley from various court positions, filmed from multiple angles. His split-step timing and quick adjustment steps into neutral and semi-open stances are clearly visible as he moves into and out of each stroke pattern.
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15.3s |
September 2007 Issue
TennisPlayer's mixed-shot animation sequence from a neutral central position, filmed from a side CourtLevel angle. The racket face angle and contact point timing shift clearly between forehands and backhands, with contact occurring slightly in front of the body and the racket head accelerating upward through the ball.
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15.3s |
Your Strokes: Miller Forehand (1 of 3)
Miller's forehand from the center of the baseline, filmed from a side CourtLevel angle. His feet load into a strong semi-open stance with a clear weight transfer from the back leg to the front as he drives through the ball.
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7.4s |
Technical Flaws in ProTwo Handers: Milos Raonic (1 of 8)
John Yandell's two-handed backhand from a neutral baseline position, filmed from a court-level rear angle. His follow-through finishes high with the racket over the front shoulder while his weight transfers onto the front foot, and he quickly brings both hands back toward the body to re-establish a compact ready position.
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9.8s |
August 2005 Issue
John Yandell’s forehand from a neutral baseline position, filmed from a side CourtLevel angle. His shoulders coil well past 90 degrees relative to the net before contact, with a clearly sequenced uncoiling of the trunk that leads the arm and racquet into the hitting zone.
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13.8s |
August 2005 Issue
Federer's FH from the center of the baseline, filmed from a side CourtLevel angle. His shoulders rotate well past 90 degrees relative to the net on the unit turn, then the trunk uncoils ahead of the arm so the hitting shoulder whips through last in a clear kinetic chain sequence.
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13.8s |
The Extreme Closed Stance: Two Handed Backhand Norm?
John Yandell’s animation compares Nadal’s and Federer’s groundstroke mechanics from a blended side and rear court view. At contact, the racket path and face angle of each player can be seen frame-by-frame, with Federer’s more linear extension contrasted against Nadal’s more extreme low-to-high windshield-wiper motion around shoulder height.
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19.2s |
Rafael Nadal's Forehand
John Yandell’s stroke animation from a central baseline position, filmed from a side CourtLevel angle. The contact point is analyzed frame-by-frame, with the racket face angle and swing path clearly visible as the strings meet the ball slightly in front of the body.
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12.2s |
The New Indian Wells: Larry Ellison, Robert Lansdorp, Free Mojitos (1 of 5)
John Yandell’s forehand from a neutral baseline position, filmed from a side angle. His hips load deeply with a pronounced knee bend, then uncoil as the rear leg drives forward and up into the ball, clearly showing how the legs initiate the rotational chain.
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5.8s |
Your Strokes: Katrina Allick Volleys (1 of 9)
Katrina Allick’s forehand and backhand volleys from the net area, filmed from a side court-level angle. Her compact split step just before contact and short adjustment steps into a neutral stance are clearly visible as she moves forward to meet the ball in front of her body.
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4.6s |
Your Strokes: Norman Ashbrooke Serve (1 of 10)
Norman Ashbrooke's serve from a central baseline position, filmed from a side CourtLevel angle. His shoulders rotate well past 90 degrees relative to the hips in the trophy phase, then the trunk uncoils in a clear sequence from pelvis to ribcage to shoulder as he drives up to contact.
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3.8s |
Memories of Indian Wells: The Big 3, Or Is That 4? (1 of 4)
John Yandell's rally forehands and backhands from mid‑court, filmed from a side CourtLevel angle. His shoulders coil well past 90 degrees relative to the net on the unit turn, then the trunk uncoils ahead of the arm swing so the racquet lags behind the rotating torso.
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13.5s |
June 2006 Issue
Generic player's forehand from a neutral court position, filmed from a side angle. The player plants the outside foot first in a clear open stance, then uses a small recovery hop to reset toward the center after the swing.
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14.2s |
June 2006 Issue
John Yandell's forehand in an open stance from the middle of the court, filmed from a court-level side angle. At contact, the racket face is slightly closed with the ball struck around waist height, and the racket head accelerates steeply upward along a low-to-high swing path.
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14.2s |
Long Live Indian Wells? (1 of 2)
John Yandell's neutral stance forehand from the middle of the court, filmed from a rear court-level angle. The contact point is slightly in front of his lead hip with the racket face nearly square to the ball and the racket head accelerating upward on a steep low-to-high path.
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4.4s |
Your Strokes: Danielle Dotzenrod Forehand (1 of 9)
Danielle Dotzenrod's forehand from a central baseline position, filmed from an over-the-shoulder angle. Her footwork includes a small adjustment hop into a neutral stance, followed by a quick recovery step that returns her toward the center of the court.
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2.8s |
Your Strokes: Param Srinivas: Straight Arm Forehand (1 of 10)
Param Srinivas's straight-arm forehand from a neutral baseline position, filmed from a side angle. His semi-western grip is evident with a pronounced laid-back wrist and clear wrist lag before releasing into pronation through contact.
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3.3s |
Roger's Revenge: Wimbledon 2007 (1 of 15)
John Yandell’s forehand from the center of the baseline, filmed from a rear court-level angle. The contact point is slightly in front of his lead hip with the racket face marginally closed, and the swing path accelerates steeply upward, indicating strong racket head speed through the ball.
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3.3s |
Mysteries of the Heavy Ball:Practical Serving Implications (1 of 10)
John Yandell's serve from the deuce side, filmed from a rear court-level angle. His follow-through carries his hitting arm fully across his body while his weight lands clearly into the court, allowing him to recover quickly into a balanced ready position for the next shot.
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17.4s |
Measuring Racket Head Speed: A New Study of the Sampras Serve
John Yandell’s serve from a tight front court position, filmed from a close-up court-level angle. His shoulders coil well past 90 degrees relative to the hips, and you can clearly see the trunk uncoil in sequence from the pelvis upward into the hitting shoulder as he drives up to contact.
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4s |
John Yandell: Sampras Serve: Hip and Shoulder Rotation
John Yandell’s forehand preparation and unit turn animation from a central baseline position, filmed from a side CourtLevel angle. The sequence makes it easy to see the racket face stay relatively neutral while the hitting arm and racquet move back as a single unit during the shoulder turn.
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2.5s |
Your Strokes: Phil Picuri Forehand (1 of 7)
Phil Picuri's forehand from a neutral baseline position, filmed from a side angle. His shoulders rotate well past 90 degrees relative to the net on the unit turn, then the trunk uncoils in sequence with the hips leading and the shoulders following into contact.
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8.1s |
Your Strokes: Phil Picuri Serve (1 of 8)
Phil Picuri's serve from the center baseline, filmed from a rear court-level angle. At contact his racket face is slightly tilted forward with the ball struck just above full arm extension, and the racket head accelerates steeply upward along the right side of his body.
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5s |
Federer's Serve Locations: 2nd Serve Placements
John Yandell's serve from a central position, filmed from a court-level side angle. His shoulder line turns well past 90 degrees relative to the baseline, creating a pronounced trunk coil that uncoils sequentially from hips to shoulders into the hitting arm.
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6.6s |
Your Strokes: Chris Thurstone Forehand (1 of 12)
Chris Thurstone's forehand from a neutral baseline position, filmed from a side CourtLevel angle. His semi-western grip is clear, with noticeable wrist lag on the takeback that unwinds into a firm, stable wrist position through contact.
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12.4s |
Three Secrets for Destroying Pushers (1 of 16)
John Yandell’s neutral-court rally ball against a pusher, filmed from a side animation angle. His hips stay relatively closed with moderate knee bend and limited leg drive, emphasizing a stable base rather than aggressive rotation through the shot.
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11.2s |
The Upward Swing: Federer's Serve in High Speed and High Def
John Yandell’s forehand from a neutral position, filmed from a side court-level angle. His hips load by turning away from the net with a deep knee bend, then uncoil as the legs drive upward and forward into contact.
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6.2s |
Mental Imagery: Synthesizing the Physical and Mental Games (1 of 10)
John Yandell’s animation sequence of Rafael Nadal’s forehand from a neutral baseline position, filmed from a composite multi-angle view. The footwork pattern is broken into discrete frames, clearly separating Nadal’s split-step, loading into an open stance, and the pivot and recovery steps back to a balanced ready position.
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6.1s |
Mental Imagery: Synthesizing the Physical and Mental Games
John Yandell’s forehand technical model animation from a central court position, filmed from a side angle. The sequence makes clear how the semi-western grip sets the racket face and how the wrist lags then pronates through contact in a controlled, repeatable pattern.
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7.7s |
Secrets of Roger Federer (1 of 1)
John Yandell’s animation of Pat Rafter and Roger Federer’s serves from a center baseline view, filmed from a CourtLevel angle. The contact point comparison clearly shows Federer’s more extended reach and slightly more closed racket face at impact versus Rafter’s higher elbow position and more open racket angle.
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15.6s |
Three Lessons I Learned From Rafa in Miami--and You Can Too
John Yandell’s stroke animation from a central court position, filmed from a side angle. The reverse animation makes it easy to see the exact moment of contact as the racket face stays square to the incoming ball with the strings aligned slightly closed.
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4.3s |
Three Lessons I Learned From Rafa in Miami--and You Can Too (1 of 18)
John Yandell’s movement sequence during a groundstroke rally from a central baseline position, filmed from a reverse angle behind the opponent. His split-step timing and first adjustment step are clearly visible as he shifts weight into a neutral stance before initiating his stroke.
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4.3s |
How Roger Federer Won the US Open (1 of 7)
John Yandell's serve from a central baseline position, filmed from a rear court-level angle. After contact his arm decelerates on the same side while his weight transfers fully into the court, finishing in a balanced stance that quickly organizes into a compact ready position.
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2.7s |
The Meaning of Hamburg for Roger and Rafa (1 of 5)
John Yandell’s analysis of Roger Federer’s inside-in forehand down the line from the deuce side, filmed from a rear court-level angle. The footage makes the degree of Federer’s early shoulder turn and delayed trunk uncoiling especially clear, with the torso staying coiled well past leg drive before rotating explosively into contact.
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3.6s |
What I Learned at Wimbledon (1 of 6)
John Yandell's forehand from the middle of the court, filmed from a side angle. His follow-through finishes high with the hitting arm wrapping across his body while his weight moves forward and he quickly returns the racquet to a neutral ready position.
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30.6s |
Your Strokes: Amber Park Forehand
John Yandell's stroke animation from a central court position, filmed from a side angle. The animation clearly depicts the progressive hip turn and uncoiling sequence driven by the legs, with distinct knee flexion in the loading phase followed by upward leg drive into contact.
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20.3s |
Your Strokes: Amber Park Forehand (1 of 10)
Roger Federer’s forehand from the center of the baseline, filmed from a side CourtLevel angle. His neutral-to-semi-open stance is clear as he plants the outside foot first, then pivots and transfers weight forward before a small recovery step back toward the middle.
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6.9s |
The Myth of Lag and Snap
John Yandell’s stroke animation from a central court position, filmed from a side angle. His footwork pattern is broken into discrete frames, clearly separating the split step, initial pivot, and progressive weight transfer into a neutral stance.
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7s |
The Myth of the Dog
John Yandell’s stroke animation from a central court position, filmed from a side angle. The shoulder and trunk rotation are broken into clear frame-by-frame segments, making the degree of shoulder turn and the timing of the trunk uncoil relative to the arm swing easy to distinguish.
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5.9s |
Off Court Visualizations (1 of 7)
John Yandell’s off-court stroke animation sequence, filmed from a side angle. The hips and legs clearly cycle through loading and unloading phases, with distinct knee flexion into the “sit” position followed by upward leg drive that initiates coordinated hip rotation.
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47s |
Tour Strokes: Andrei Rublev Serve (1 of 12)
John Yandell’s Andrei Rublev serve animation from a central baseline position, filmed from a composite multi-angle court-level view. The sequence makes the wrist pronation and relaxed continental grip especially clear, with a distinct laid-back wrist position that unwinds rapidly through contact.
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7.5s |
Your Strokes: Ryan Dickerson: Two-Handed Backhand (1 of 5)
Ryan’s two-handed backhand from the center of the baseline, filmed from a side angle. His hips stay closed as he loads with a deep knee bend, then drive forward with noticeable leg extension through contact.
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6.8s |
Your Strokes: Sai Serve (1 of 9)
Sai’s serve from the center of the baseline, filmed from a side angle. His rhythmic knee bend into an aggressive upward drive is clearly visible, along with a pronounced front-foot landing that sets up his first recovery step into the court.
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4.5s |
Your Strokes: Sam Forehand (1 of 7)
Sam's forehand from the center of the court, filmed from a side angle. His split-step is timed just before the opponent's contact, leading into a quick pivot and semi-open stance as he loads on his outside leg before swinging.
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6.5s |
The Omosis Clinic Report 2007 (1 of 5)
John Yandell's neutral stance forehand from the center of the court, filmed from a rear court-level angle. His hips stay relatively closed through the loading phase with a deep knee bend, then unwind as his legs drive upward and forward into contact.
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8s |
Ritualizing Your Game (1 of 5)
John Yandell's serve from a central baseline position, filmed from a rear court-level angle. His follow-through brings his hitting arm down on the same side while his non-hitting hand returns quickly to a balanced ready position, with his weight landing on the front foot to recover into the court.
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8.2s |
Your Strokes: Shirish Forehand (1 of 21)
Shirish's forehand from a central baseline position, filmed from a side CourtLevel angle. The contact point is slightly in front of his lead hip with the racket face just a bit closed, and the racket head accelerates upward on a low-to-high swing path.
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12s |
Your Strokes: "Shroud" Forehand (1 of 11)
Player's forehand from the center of the baseline, filmed from a side CourtLevel angle. The follow-through wraps fully across the body while the player’s weight transfers onto the front foot, finishing in a balanced, neutral ready position.
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5.9s |
Do Hitting Arms Matter? The Two Handed Backhand
John Yandell’s forehand from a neutral position, filmed from a side animation view. His hips load with a pronounced double knee bend, with the rear leg sinking deeply before driving up and forward to initiate hip rotation into the shot.
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3.9s |
The Heavy Ball in Modern Pro Tennis (1 of 5)
John Yandell’s forehand from a central baseline position, filmed from a side CourtLevel angle. His stance shifts from a semi-open to more neutral as he loads on the outside leg, with a compact adjustment step just before contact to fine-tune spacing.
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6.6s |
The Two-Handed Backhand: The Hitting Stances
John Yandell's stance animation medley from center court, filmed from a side angle. The sequence makes it easy to compare how his racket position at contact shifts subtly with different stance widths while keeping a consistent contact point slightly in front of his body.
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10.4s |
How Rafael Nadal Won the 2006 French Open (1 of 6)
John Yandell's strategic stare-down and preparation sequence from the baseline, filmed from a court-level angle. His footwork remains deliberately quiet with a minimal adjustment step pattern, emphasizing a stable, neutral stance as he sets up for the next exchange.
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3.3s |
Off Court Visualizations (3 of 7)
John Yandell’s animation still frames of various strokes from a neutral court position, filmed from a composite instructional angle. The follow-through and recovery are broken into discrete positions so you can see the hitting arm’s path, non-hitting hand’s role, and how the body weight transitions back toward a ready stance.
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6.9s |
Mental Imagery in Building Strokes (1 of 4)
John Yandell’s animation still frames of various strokes are presented from a composite, multi-angle instructional layout. The shoulder and trunk positions are frozen at key checkpoints, making it easy to compare the degree of shoulder turn and trunk uncoil across different phases of the kinetic chain.
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6.9s |
Do Hitting Arm Positions Really Matter?
John Yandell’s straight-line forehand swing path animation from a central court position, filmed from a side angle. The contact point is illustrated with the racket face nearly square to the target and the racket head moving forward on a linear path parallel to the baseline at about waist height.
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11.2s |
Forehand
John Yandell's straight-on animation sequence from a neutral court position, filmed from a front CourtLevel angle. The shoulder line and trunk rotation can be compared frame-by-frame, making the degree of upper body coil and the timing of the uncoil in relation to the hitting arm especially clear.
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11.2s |
Your Strokes: Ted Gregory: One Handed Backhand (1 of 8)
Ted Gregory's one-handed backhand from a central baseline position, filmed from a rear court-level angle. At contact his racket face is slightly closed with the ball struck around waist height, and the racket head accelerates upward along a steep, low-to-high swing path.
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12.5s |
Measuring Speed and Spin in Your Game (1 of 4)
John Yandell’s groundstroke animation from a central court position, filmed from a side angle. The side view makes the degree of shoulder turn and the timing of his trunk uncoil easy to see as the hips initiate rotation slightly before the shoulders complete their forward release.
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3.2s |
John Yandell: Classical Tennis and Modern Tennis
John Yandell’s stroke animation from a central court position, filmed from a side angle. The sequence makes the timing of his wrist lag and subsequent pronation at contact easy to see, with the racquet head clearly trailing the hand before unrolling through the ball.
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7.4s |
Your Strokes: TLM's Extreme Grip Forehand (1 of 16)
TLM's forehand from a neutral baseline position, filmed from a side CourtLevel angle. The side view makes the extreme shoulder turn and deep trunk coil especially clear, with the torso uncoiling aggressively ahead of the arm to drive the forward swing.
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7.6s |
Your Strokes: Todd Haydon Serve (1 of 13)
Todd Haydon's serve from a central baseline position, filmed from a rear court-level angle. At contact his racket face is slightly tilted forward with the ball struck just above full extension, and the racket head accelerates upward along a pronounced edge-on swing path before pronating.
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6.5s |
Roger Federer: Serve Part 2
John Yandell’s serve toss and leg action sequence from a stationary position, filmed from a side CourtLevel angle. The racket remains in a neutral, waiting position while the contact arm extends upward, making it easy to see the ball’s release point directly above the front shoulder before the hitting motion begins.
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12.4s |
Your Strokes: Tyler Zink Serve (1 of 11)
Tyler Zink's serve from a central baseline position, filmed from a side animation angle. At contact his racket face is slightly tilted forward with the ball struck just above full extension, and the racket head accelerates steeply up and across his body on the follow-through.
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7.6s |
The Wimbledon Final 2008: A Different Story? (1 of 22)
John Yandell’s point-play sequence from a neutral baseline position, filmed from a rear angle. His hips stay relatively square to the net with limited rotation through the stroke, while his knees show only a moderate bend, reducing leg drive into the shot and contributing to the unforced error.
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10s |
Novak Djokovic's Forehand: The Unit Turn
John Yandell’s forehand unit turn from the center of the baseline, filmed from a side CourtLevel angle. His hips and knees load together with a noticeable knee bend as the rear hip turns back, setting up a strong leg drive into the forward swing.
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4.9s |
The Forehand Volley Variations
John Yandell's forehand swing path animation from the center of the court, filmed from a side angle. The trunk rotation is depicted as a smooth U-shaped arc, with the shoulders coiling early and then uncoiling in sequence to drive the forward swing path.
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12.3s |
The Backhand Volley: Variations
John Yandell’s forehand animation sequence from a central court position, filmed from a side CourtLevel angle. The frames make it easy to see his semi‑western grip with a laid‑back wrist that maintains clear lag before releasing into forearm and wrist pronation through contact.
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8.2s |
Your Strokes: Vin Miller: Serve (1 of 10)
Vin Miller's serve from a central baseline position, filmed from a side angle. His footwork features a rhythmic rocker step into a pinpoint stance, with the back foot drawing up to the front foot before an aggressive knee bend and upward drive.
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4.7s |
Your Strokes: Paul Goldstein: Serve Part 2 (1 of 8)
Paul Goldstein's serve from a central baseline position, filmed from a rear court-level angle. His shoulders rotate well past 90 degrees relative to his hips, creating a pronounced trunk coil that unwinds sequentially from pelvis to ribcage to shoulders during the upward swing.
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3.7s |
Tour Strokes: My Take on Sabalenka's Serve (1 of 7)
John Yandell's serve from the center of the baseline, filmed from a side CourtLevel angle. His hips load deeply with pronounced knee flexion, then drive upward as the back hip extends and rotates toward the court during the leg push-off.
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10.1s |
Two Handed Backhand Stances in Women's Pro Tennis
John Yandell’s forehand from a neutral baseline position, filmed from a side CourtLevel angle. His upper body shows a pronounced shoulder turn with the hitting-side shoulder fully rotated back, then uncoils ahead of the hips so the trunk leads the arm into contact.
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8.1s |
Part 1 (1 of 2)
John Yandell's forehand from the center of the court, filmed from a side CourtLevel angle. His footwork pattern features a small adjustment hop into a semi-open stance followed by a clear loading step on the outside leg before driving into the shot.
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7.1s |
Tour Strokes: Alexander Zverev Serve (1 of 6)
John Yandell’s serve from a central baseline position, filmed from a side animation angle based on Alexander Zverev’s motion. The hips load deeply with a pronounced knee bend before driving upward, and the lead hip clearly extends toward the court as the back leg straightens through contact.
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8s |
Your Strokes: Shooter McMarco: Backhand (1 of 7)
Shooter McMarco's two-handed backhand from the center of the baseline, filmed from a rear court-level angle. His semi-western bottom hand and continental top hand stay firm while the wrists remain relaxed, creating a noticeable lag that uncoils into a compact wrist snap right at contact.
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3.7s |
Understanding Andy Roddick's Serve Part 2
John Yandell’s overview segment on advanced stroke analysis, filmed from a CourtLevel angle. The racket contact points are examined frame-by-frame, with particular attention to racket face angle changes through impact and immediate post-contact.
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8.5s |
The Forehand Return of Serve Part 1: Compact Classical
John Yandell’s still image of various grips is presented from a neutral, instructional camera angle. The hip and leg positions are static, making it easy to see how lower body alignment changes slightly with each grip even before any swing or weight transfer begins.
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3.8s |
Your Strokes: Param Srinivas: Straight Arm Forehand (2 of 10)
Federer's forehand from the center of the baseline, filmed from a rear court-level angle. His follow-through finishes high across his body while his non-hitting hand retracts quickly to help him recover back into a neutral ready position.
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2.3s |
Understanding Andy Roddick's Serve Part 1
John Yandell’s serve wind-up from the center of the baseline, filmed from a rear court-level angle. His follow-through drops the racquet down his left side as his weight transfers fully onto his front foot, bringing him smoothly back toward a neutral ready position.
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8.4s |
John Yandell: The Forehand: Where Are We Now?
John Yandell's neutral stance groundstroke from the center of the court, filmed from a side angle. His feet plant on a stable, shoulder-width base as he rotates through the shot, then he uses a small adjustment step with his back foot to recover his balance after contact.
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8.2s |
John Yandell: Classical Tennis and Modern Tennis
John Yandell’s forehand from the center of the court, filmed from a side CourtLevel angle. His footwork features a well-timed split step into a semi-open stance, followed by a controlled pivot and recovery step that clearly marks each phase of his analytical stroke model.
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6.6s |
The Forehand Return of Serve Part 2: Extreme Grips
John Yandell’s recovery movement to the center of the court, filmed from a court-level angle. His small adjustment steps and quick shuffle back to a balanced neutral stance illustrate how he regains optimal positioning after the shot.
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17.4s |
All Courters Rule on Wimbledon Grass (3 of 5)
John Yandell’s serve-and-volley sequence from a central court position, filmed from a court-level angle. His continental grip stays constant through the serve and first volley, with a firm but relaxed wrist that pronates through contact on the serve and remains stable with minimal wrist break on the volley.
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6.7s |
Novak Djokovic's Forehand: The Full Turn and the Backswing
John Yandell's FH from the Deuce court, filmed from a Rear angle. His shoulders coil well past 90 degrees relative to the net before uncoiling in sync with the trunk rotation, creating a clearly sequenced separation between hip turn and upper-body release.
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3.9s |
Novak Djokovic's Forehand: The Full Turn and the Backswing
John Yandell’s forehand from a neutral court position, filmed from a side CourtLevel angle. At contact, his arm forms a distinct double-bend with the racket face slightly closed and striking the ball around waist height as the racket accelerates steeply upward along the swing path.
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7.3s |
The Forehand Return of Serve Part 2: Extreme Grips
John Yandell’s mixed-stroke animation medley from a central baseline position, filmed from a composite side and rear court-level angle. His continental-based grip variations and consistent laid-back wrist position are easy to compare across strokes as the hand orientation and degree of wrist lag remain visible throughout the sequences.
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13.1s |
John Yandell: The Forehand: Where Are We Now?
John Yandell’s forehand contact height animation from a central baseline position, filmed from a side CourtLevel angle. His stance progression is clearly visible as he moves from a neutral loading position into contact, with his feet adjusting subtly to keep his body aligned to the incoming ball height.
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5.4s |
The Wimbledon Final 2008: A Different Story? (22 of 22)
John Yandell's animation of multiple groundstroke patterns from the center of the baseline, filmed from a CourtLevel rear angle. His split-step timing and initial adjustment steps into a neutral stance are clearly visible as he transitions into each different stroke pattern.
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13.5s |
The Heavy Ball in Modern Pro Tennis (2 of 5)
John Yandell’s forehand from the center of the court, filmed from a rear court-level angle. After contact his follow-through wraps across his body while his weight moves forward, and he quickly brings both hands back toward a ready position for recovery.
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3.8s |
Understanding Andy Roddick's Serve Part 2
John Yandell's forehand from the center of the court, filmed from a rear court-level angle. His hips load in a closed position with a distinct knee bend, then unwind into contact as the legs drive up and forward.
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10.1s |
Forehand
John Yandell’s full-stroke animation sequence from a neutral baseline position, filmed from a composite multi-angle court-level view. The animation clearly separates shoulder turn from trunk rotation, making the timing of upper-body coil and uncoil within the kinetic chain easy to distinguish frame by frame.
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10.4s |
The Athletic Foundation
John Yandell’s movement and positioning animation on court, filmed from a composite instructional angle. His split-step timing into a neutral stance is clearly broken down frame by frame, making the lateral adjustment steps and recovery footwork pattern easy to distinguish.
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6.6s |
The Athletic Foundation
John Yandell’s forehand from the middle of the court, filmed from a side CourtLevel angle. At contact his racket face is slightly closed with the ball struck just in front of his lead hip, and the racket head accelerates upward on a steep low-to-high path.
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9s |
The Athletic Foundation
John Yandell’s forehand from the center of the court, filmed from a side angle. His hips load by turning sideways with a pronounced knee bend, then unwind as his rear leg drives forward to initiate rotation into the ball.
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8.7s |
The Athletic Foundation
John Yandell’s stroke animation is presented from a composite side and rear court-level angle. His footwork sequence is broken into clear incremental positions, making it easy to see the timing of his split step and transition into an open stance.
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12.1s |
The Athletic Foundation
John Yandell’s stroke animation from a neutral court position, filmed from a side angle. The sequence makes the degree of shoulder turn and the timing of the trunk uncoil especially clear as each frame isolates how his torso leads the kinetic chain into contact.
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7.2s |
The Athletic Foundation
John Yandell’s animation sequence of multiple strokes from a neutral court position, filmed from a side composite angle. The shoulder and trunk rotation are broken down frame-by-frame, clearly separating the coiling phase from the uncoiling phase so you can see how the upper body leads the kinetic chain into contact.
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9.1s |
Your Strokes: Drew Forehand (2 of 48)
Drew's forehand from the center of the court, filmed from a side angle. The racket meets the ball slightly in front of the lead hip with a closed racket face and a steep low-to-high swing path that accelerates the racket head up and across the ball.
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13.7s |
Your Strokes: Ryan Serve (2 of 74)
Ryan's serve from a central baseline position, filmed from a side angle. His follow-through brings his hitting arm down across his body while his back leg swings forward into the court, helping him land balanced and ready for the next shot.
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15.4s |
Your Strokes: Bastiaan One Handed Backhand (2 of 92)
Bastiaan's one-handed backhand from a neutral baseline position, filmed from a side animation angle. His follow-through finishes high with the hitting arm extended while his weight transfers onto the front foot before he recovers toward a ready position.
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7.4s |
Your Strokes: Gavin Serve (2 of 65)
Gavin’s serve from a central baseline position, filmed from a side angle. His deep knee bend and strong upward leg drive into contact are clearly visible, with the hips extending aggressively toward the court as he pushes off the ground.
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4s |
The Athletic Foundation
John Yandell’s animation of stroke mechanics is presented from a side-view, court-level perspective. The sequence makes it easy to see how the hips lead the motion with a pronounced leg drive and knee bend that initiates before the upper body unwinds.
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8.5s |
Tour Strokes: Mysteries of Medvedev's Forehand (2 of 83)
John Yandell’s forehand animation from a neutral baseline position, filmed from a side angle. The side view makes the progressive wrist lag into contact and the subsequent pronation through the ball especially clear in relation to his semi-western grip.
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8.8s |
Serving Mystery: Hit Up Or Hit Down? (2 of 66)
John Yandell’s serve from a central baseline position, filmed from a side CourtLevel angle. His shoulder-over-shoulder action is clearly visible as the trunk coils against the hip line in the trophy phase, then uncoils in a sequenced upward rotation through contact.
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5.5s |
Technical Flaws in ProTwo Handers: Jack Sock (2 of 92)
John Yandell’s two-handed backhand from the baseline, filmed from a side CourtLevel angle. His stance moves from a neutral loading position into a slightly closed alignment, with a compact unit turn and small adjustment steps that set his feet before he drives through the ball.
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10s |
Technical Flaws in Pro Two Handers: John Isner (2 of 83)
John Yandell's two-handed backhand from a neutral baseline position, filmed from a rear court-level angle. At contact his racket face is nearly square to the ball with the contact point slightly in front of his body, and the swing path drives low-to-high with noticeable acceleration through the hitting zone.
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5.3s |
The Athletic Foundation
John Yandell’s stroke animation sequence from a central court position, filmed from a side angle. The contact point is shown with the racket face slightly closed and the strings meeting the ball just in front of his lead hip, emphasizing a low-to-high swing path.
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28.4s |
The Athletic Foundation
John Yandell’s animation sequence from a neutral position, filmed from a side angle. The side view makes it easy to see his consistent semi-continental grip alignment and the way his wrist stays laid back in a fixed angle through contact before relaxing in the follow-through.
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9.7s |
What I Learned from the Inner Game of Tennis: Part 3 (2 of 19)
John Yandell between-point animation and recovery routine, filmed from a neutral court-level angle. His follow-through into a relaxed, upright posture transitions into a deliberate ready position, with his hands settling calmly in front of his body as he resets for the next point.
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4s |
The Myth of the Magic Bullet
John Yandell’s neutral stance forehand from the center of the baseline, filmed from a rear court-level angle. His hips load in a closed position with a deep knee bend, then uncoil as his legs drive upward and forward into the shot.
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3.1s |
The Athletic Foundation
John Yandell’s forehand from the middle of the court, filmed from a side angle. His follow-through finishes high with the racquet wrapping across his body as his weight transfers onto his front foot and he quickly returns the non-hitting hand toward a ready position.
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20.1s |
The Athletic Foundation
John Yandell’s forehand from the middle of the court, filmed from a side angle. His follow-through finishes high across his body with the non-hitting hand staying in front to help him recover quickly back into a ready position.
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8.9s |
The Athletic Foundation
John Yandell’s movement and stance sequence during a neutral court position, filmed from a side angle. His split-step timing into a wide, semi-open stance is clearly visible, followed by small adjustment steps that align his body before and after the stroke.
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6.8s |
Mysteries of the Heavy Ball:Speed and Spin in the Serves of Pete Sampras and Greg Rusedski (2 of 7)
John Yandell's serve from the deuce side, filmed from a rear court-level angle. At contact his racket face is slightly closed with the ball struck well above head height, and the racket head is moving steeply up and across the ball to emphasize spin and speed.
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3.5s |
Roger Federer's Serve
John Yandell’s forehand from a neutral position, filmed from a side CourtLevel angle. At contact his racket face is slightly closed with the ball struck around waist height, and the racket head accelerates steeply upward along the swing path.
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8.6s |
Your Strokes: Andy Roddick's Backhand (2 of 9)
Andy Roddick's backhand from a neutral baseline position, filmed from a side animation view. His footwork pattern features a small adjustment hop into a neutral stance, followed by a firm plant on the front foot before rotating through the shot.
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5s |
Your Strokes: Danielle Dotzenrod Two-Handed Backhand
Federer's FH backswing from the middle of the court, filmed from CourtLevel. His follow-through finishes high with the racquet wrapping over his shoulder while his non-hitting hand extends forward to help him recover into a neutral ready position.
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Your Srokes: Jeff Greenwald Serve (2 of 8)
Federer's serve from a neutral position, filmed from an animation-style side angle. His hips load by turning away from the court while the back knee bends deeply, then the legs drive upward as the hips uncoil into contact.
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5.6s |
John Yandell: Del Potro's Forehand Analyzed (2 of 14)
John Yandell’s forehand from the center of the court, filmed from a side angle. At contact his racket face is slightly closed with the ball struck just in front of his lead hip at roughly waist height, and the racket head accelerates steeply upward along the swing path.
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6.1s |
Tour Strokes: Kei Nishikori Serve (2 of 7)
John Yandell's backswing animations for multiple strokes from center court, filmed from a side angle. His follow-through and recovery sequences are broken into frame-by-frame positions, clearly showing how his weight transfers forward and his upper body unwinds into a balanced ready position.
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19.4s |
The Wimbledon Final 2008: A Different Story? (2 of 22)
John Yandell's FH from the Deuce court, filmed from a CourtLevel angle. After contact his follow-through finishes high with the racquet wrapping over his shoulder while his non-hitting hand extends back to help him recover quickly toward a neutral ready position.
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4.1s |
Federer's Serve Locations: 1st Serve Ad Court
John Yandell’s stroke mechanics animation from a central court position, filmed from a CourtLevel angle. The contact point is dissected frame-by-frame, clearly showing the racket face angle at impact and the progression of racket head speed through the hitting zone.
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7s |
Using the Resources of Tennisplayer: Part 2 (1 of 3)
John Yandell’s torso-at-contact animation focuses on the FH and BH contact position from a neutral court stance, filmed from a side animation angle. The racket face angle and contact height are matched to a stable, square torso alignment, making it easy to see how the strings meet the ball slightly in front of the body.
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5.9s |
Your Strokes: Giancarlo Andreani: Two-Handed Backhand (2 of 7)
Giancarlo Andreani's two-handed backhand from a neutral hitting position, filmed from a front animation angle. His hips stay relatively closed at contact while the legs maintain a solid base with moderate knee flexion rather than an aggressive drive up from the ground.
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5.9s |
David Bailey: Return of Serve Contact Moves Introduction
John Yandell’s stroke animation from a central baseline position, filmed from a court-level angle. The high-speed sequence makes the exact moment of contact clear, including the square racket face alignment and the rapid acceleration of the racket head just before and through impact.
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5.3s |
Your Strokes: Chris Thurstone Forehand (2 of 12)
Agassi's forehand from the center of the court, filmed from a side animation angle. His hips stay closed as he loads with a deep knee bend, then rotate aggressively as his legs drive up through contact.
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5.1s |
Hitting Stances in the Modern Forehand
John Yandell’s forehand from a neutral stance near the center of the baseline, filmed from a court-level side angle. His footwork includes a small adjustment hop into a neutral stance, with the front foot stepping forward along the baseline and a clear recovery step back toward the ready position after contact.
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5.1s |
Your Strokes: Alex Mikhailov One-Handed Backhand (2 of 8)
Alex Mikhailov's one-handed backhand from a neutral baseline position, filmed from a side court-level angle. After contact he extends the racquet fully toward the target while his non-hitting arm counterbalances behind him, then he steps forward and returns to a compact ready position.
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7s |
Your Strokes: Allan Murphy Forehand (2 of 7)
Allan Murphy's forehand from a central baseline position, filmed from a court-level rear angle. His footwork includes a clear split step into a semi-open stance, followed by a controlled pivot on the back leg and a small recovery step toward the center after contact.
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9s |
Your Strokes: Amber Park Forehand (2 of 10)
Amber Park's forehand from a neutral position, filmed from a side angle. Her semi‑western grip is clear, with noticeable wrist lag on the racket drop and a pronounced wrist snap forward through contact.
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7.9s |
Life in Miami (and at the Miami Open) (2 of 2)
John Yandell’s rotational forehand mechanics from a central court position, filmed from an animation-style composite angle. The animation makes the progressive forearm and wrist pronation especially clear, with the racquet face moving from a laid‑back lag position into a neutral alignment at contact.
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10.3s |
Your Strokes: Esaam Ismail: Serve (2 of 6)
Andy’s serve from a central baseline position, filmed from a side CourtLevel angle. At contact, his racket face is slightly tilted forward with the ball struck just above full arm extension, and the racket head accelerates steeply upward along the right side of his body.
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8.5s |
Andy Murray and the Open Stance Forehand
John Yandell's forehand from the center of the court, filmed from a side angle. His follow-through wraps fully across his body while his weight finishes on the front foot, and he quickly returns the racquet to a neutral ready position in front of his torso.
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4.9s |
Three Secrets for Destroying Pushers (2 of 16)
John Yandell’s attacking baseline forehand is filmed from a court-level side angle. His semi-western grip is paired with a laid-back wrist that stays in strong lag through the forward swing before a pronounced snap into contact.
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3.3s |
The Two-Handed Backhand: The Forward Swing
John Yandell’s FH from the middle of the court, filmed from a side CourtLevel angle. The video makes it easy to see the racket face staying slightly closed through a low-to-high swing path, with contact occurring just in front of his lead hip at roughly waist height.
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17s |
Your Strokes: Barry Gaines Forehand (2 of 7)
Barry Gaines's forehand from a neutral court position, filmed from a side angle. His hips stay closed during the unit turn and then open explosively as the right leg drives up from a deep knee bend into contact.
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5.1s |
John Yandell: The Easter Bowl 2007 (2 of 8)
John Yandell’s neutral stance forehand from the center of the baseline, filmed from a court-level side angle. His shoulders coil well past 90 degrees relative to the net before uncoiling in sync with the trunk, creating a clear sequence from hip rotation to upper torso and shoulder release.
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8.4s |
The Stringbed and Pro Contact
John Yandell’s serve from a neutral court position, filmed from a below-court animation angle. The animation makes it easy to see the degree of shoulder over-rotation relative to the hips and the rapid uncoiling of the trunk as it leads the arm into contact.
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3s |
Your Strokes: Two Handed Backhand Stances (2 of 7)
Player's two-handed backhand from a neutral baseline position, filmed from a side CourtLevel angle. The contact point is slightly in front of the lead hip with the racket face nearly square to the net and the racket head accelerating upward on a low-to-high path.
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7.9s |
Clay Tech: The Clay Court Solution? (2 of 3)
John Yandell’s ball-bounce animation sequence from the center court area, filmed from a side angle. His follow-through analysis focuses on how the ball’s trajectory and bounce height change frame by frame, enabling precise timing of recovery steps into a neutral ready position.
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4.5s |
New Teaching Method: Slice Backhand Ball Flights (2 of 20)
John Yandell’s ball-bounce height animation is presented from a neutral, side-on instructional graphic perspective. The sequence makes clear how different spin and trajectory combinations affect the ball’s rebound height in relation to the player’s strike zone, emphasizing wrist angle adjustments needed to match contact height.
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17.6s |
John Yandell: The Forehand: Where Are We Now?
John Yandell’s groundstrokes from the center of the baseline, filmed from a side CourtLevel angle. His follow-through carries his racquet well across his body while his weight transfers forward into the court, bringing him quickly back into a compact ready position.
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5.2s |
Your Strokes: Bryan Yeager One Handed Backhand (2 of 10)
Bryan Yeager's one-handed backhand from a neutral baseline position, filmed from a side CourtLevel angle. His eastern backhand grip is clearly visible with a firm but relaxed hand, and the wrist stays laid back through the swing before releasing slightly through contact.
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9.5s |
Wimbledon Journal (2 of 8)
John Yandell’s FH from the center of the baseline, filmed from a CourtLevel Side angle. After contact his racquet wraps fully across his body while his non-hitting hand extends back for counterbalance, and he quickly regains a neutral ready position with his weight settling on his front foot.
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10.8s |
Your Strokes: Carl Sutherland: Slice Backhand (2 of 7)
Carl Sutherland's slice backhand from a neutral court position, filmed from a side angle. His small adjustment steps set up a slightly open stance, with the front foot landing just before the racket swings through the ball.
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5.5s |
Your Strokes: Anthony Forehand (2 of 9)
Anthony's forehand from the center of the baseline, filmed from a rear court-level angle. His hips load in a closed position with a pronounced knee bend before driving upward and unwinding through contact, showing clear leg drive into the shot.
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21.7s |
The Two-Handed Backhand: The Hitting Stances
John Yandell's forehand from a closed stance near the baseline, filmed from a side court-level angle. His hips stay more closed to the net at the start of the forward swing, with a pronounced knee bend and strong rear-leg drive pushing his body weight into the court.
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6.9s |
The Upward Swing: Federer's Serve in High Speed and High Def
John Yandell’s forehand from the center of the baseline, filmed from a side CourtLevel angle. His semi-western grip is clear as his wrist stays laid back through the forward swing before unhinging into contact with a controlled pronation.
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3.9s |
The Backhand Volley: Variations
John Yandell’s forehand from the center of the court, filmed from a side angle. His compact adjustment steps into a neutral stance and timed split-step just before the ball bounce are clearly visible from this view.
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13.5s |
John Yandell: Forehand Volley
John Yandell's forehand contact point animation from the center of the court, filmed from a side CourtLevel angle. His follow-through rises high with the racquet finishing over the opposite shoulder while his weight transfers cleanly onto his front foot before he recovers.
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8.5s |
Your Strokes: Jacky Duchamp Forehand (2 of 9)
Courier’s forehand from a central baseline position, filmed from a side CourtLevel angle. His semi-western grip is evident in the closed racket face, with a pronounced wrist lag that unwinds into a firm, stable wrist at contact.
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3s |
Roger Federer versus Rafael Nadal: Round 3 (2 of 5)
John Yandell’s strategic animation coverage from a central tactical perspective, filmed from a CourtLevel angle. The rotation of the shoulders and trunk is broken down frame by frame, making the degree of coil and the timing of the uncoil in relation to the stroke sequence distinctly measurable.
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3.9s |
Your Strokes: Arthur Gosnell: Serve (2 of 12)
Juan Martín del Potro's forehand from a neutral position, filmed from a side animation angle. You can clearly see his laid-back wrist creating pronounced lag before uncoiling through contact.
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3.8s |
Your Strokes: "Modern" Club Play: Fully Open Stance (2 of 10)
Djokovic's forehand from a fully open stance, filmed from a side animation angle. His semi-western grip is clear, with noticeable wrist lag on the racquet drop and a pronounced forearm pronation through contact.
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5.9s |
The Myth of the Recovery Step: Pro Backhands
John Yandell’s forehand and backhand animations from a neutral baseline position, filmed from a side and rear blended angle. The grip changes and wrist positions are clearly defined frame-by-frame, with distinct wrist lag into the slot and controlled pronation through contact visible on both strokes.
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19.2s |
Why Rafa Crushed Roger at the French 2007 (2 of 11)
John Yandell's forehand from the center of the baseline, filmed from a rear court-level angle. His follow-through wraps high over the opposite shoulder while his non-hitting hand stays extended back, helping his torso unwind fully before he recovers toward a neutral ready position.
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6.5s |
Novak Djokovic's Forehand: A New Synthesis
John Yandell’s stroke animation elements are presented from a composite instructional perspective, combining multiple angles. The wrist action is broken down frame-by-frame, clearly isolating the progression from laid-back wrist lag to controlled pronation at and just after contact.
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5.9s |
Roger's Revenge: Wimbledon 2007 (2 of 15)
John Yandell’s animation entrance sequence to a forehand stroke, filmed from a side CourtLevel angle. The racket’s forward swing is broken into discrete frames, making the exact contact point and closing racket face angle easy to compare to the hand and shoulder positions.
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14.9s |
Tomas Berdych's Forehand (2 of 16)
John Yandell's forehand from a neutral baseline position, filmed from a side CourtLevel angle. His follow-through finishes high with the racquet wrapping across his body while his non-hitting hand extends back slightly, and he quickly regains a balanced ready stance with weight centered over both feet.
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4.9s |
The One-Handed Backhand: Stances
John Yandell's forehand from the middle of the court, filmed from a side CourtLevel angle. His shoulders and trunk form an extreme closed alignment at the completion of the unit turn, then uncoil sequentially from the hips through the torso before the shoulders square to the net at contact.
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3.5s |
Contact Moves: Defensive Returns
John Yandell’s forehand from the center of the baseline, filmed from a side CourtLevel angle. His follow-through finishes high across his body with his weight transferring forward into the court, and he quickly returns both hands to the racquet in a compact ready position.
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9.6s |
Tour Strokes: My Take on Sabalenka's Serve (2 of 7)
John Yandell's forehand from the middle of the court, filmed from a side CourtLevel angle. The contact point is well in front of his body with the racket face slightly closed and the racket head accelerating upward on a steep low-to-high path.
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4.2s |
Your Strokes: Evan Chiang Serve (2 of 20)
Federer's serve from a central baseline position, filmed from a rear angle. His continental grip is evident with a relaxed hand, and you can see pronounced wrist pronation through contact as the racquet edge leads and then turns outward.
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4s |
Your Strokes: Larry Landsman: Slice Backhand (2 of 18)
Federer's slice backhand from a neutral baseline position, filmed from a side court-level angle. His footwork includes a small adjustment shuffle into a closed stance, with the front foot planting firmly before he leans slightly forward through contact.
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7.9s |
Your Strokes: Eva So: Forehand (2 of 6)
Federer's forehand from the center of the baseline, filmed from both a side and rear angle. His footwork includes a small hop into a neutral stance before contact and quick recovery steps that reposition him back into a ready stance.
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11.1s |
The One Handed Topspin Backhand Part 2
John Yandell’s forehand preparation from the center of the baseline, filmed from a side angle. His hips stay relatively closed as he initiates the grip shift, with a noticeable knee bend that keeps his legs loaded before full rotation into the forward swing.
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22s |
How Roger Federer Won the US Open (2 of 7)
John Yandell's return from the deuce court, filmed from a rear angle. His compact split step into a neutral stance sets up a short pivot and efficient recovery step back toward the center after contact.
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3.9s |
How Rafael Nadal Won the 2006 French Open (2 of 6)
John Yandell’s strategic analysis segment on Nadal and Federer is presented from a mixed match-play and graphic animation perspective, filmed from an elevated broadcast-style angle. The wrist positions of both players are dissected frame-by-frame, with particular emphasis on Nadal’s extreme forehand grip and delayed wrist release compared to Federer’s more moderate grip and earlier pronation through contact.
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3.4s |
The Myth of the Archer's Bow
John Yandell’s forehand from the middle of the court, filmed from a side angle. His hips stay relatively closed with a noticeable backward tilt in the rear hip as his knees flex deeply into the loading phase before driving up into contact.
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8.6s |
Myths About Low to High on the Pro Forehand
John Yandell’s forehand from a central baseline position, filmed from a side CourtLevel angle. His follow-through wraps across his body with the non-hitting hand counterbalancing behind him before he recovers into a neutral ready position.
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6s |
Novak Djokovic's Forehand: The Unit Turn
John Yandell’s footwork animation from a neutral court position, filmed from a side angle. The sequence makes clear how his shoulder line stays closed while the trunk coils over the loading leg, then uncoils in sync with the hips as the weight transfers.
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4.9s |
Your Strokes: Danielle Dotzenrod Forehand (2 of 9)
Danielle Dotzenrod's forehand from a neutral court position, filmed from a side angle. Her follow-through finishes high over the shoulder with the non-hitting arm staying in front briefly before she recovers back to a ready stance.
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4.5s |
The Pro Slice and Your Slice
John Yandell’s groundstroke from the center of the court, filmed from a graphic animation angle. The hips and legs are clearly segmented in the animation, making it easy to see the timing of hip rotation relative to knee bend and leg drive into the shot.
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5.8s |
Off Court Visualizations (2 of 7)
John Yandell’s off-court forehand animation is presented in a neutral, front-facing position, filmed from a CourtLevel angle. The sequence makes the forehand grip and progressive wrist pronation easy to see, especially the way the wrist moves from a laid-back position into a more neutral alignment through contact.
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9.6s |
Your Strokes: Gavin Rossdale Forehand (2 of 7)
Gavin Rossdale's forehand from the center of the baseline, filmed from a side CourtLevel angle. His follow-through finishes high across his body with his weight clearly transferring onto his front foot before he recovers back toward a neutral ready position.
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3.1s |
Your Strokes: Ryan Dickerson: Forehand (2 of 13)
Ryan Dickerson's forehand grip animation, filmed from a front instructional angle. His hand position on the handle is clearly visible as he adjusts the racquet to an eastern-to-semi-western forehand grip, with the wrist and knuckles aligning to set up a stable contact stance.
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8.2s |
Your Strokes: Ryan Dickerson: Forehand
John Yandell’s animation of the grip change is presented from a neutral, instructional angle. The contact point is illustrated with the racket face slightly closed at about waist to mid-chest height, emphasizing how the hand position on the handle controls racket angle through impact.
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10.7s |
The Forehand Return of Serve Part 2: Extreme Grips
John Yandell’s animation focuses on different grips and hand positions, presented from a composite instructional angle. The sequence emphasizes how grip changes affect the orientation of the hand and wrist at contact, making it easier to compare stance and footwork adjustments associated with each grip type.
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13.5s |
The Forehand Followthrough: Extension and Rotation
John Yandell’s forehand grip progression is shown from a stationary baseline position, filmed from a front animation angle. His feet remain set in a neutral stance with no split-step or recovery, emphasizing how the grip changes independently of lower-body movement.
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14.1s |
Roger Federer's Warm Up (2 of 7)
John Yandell’s forehand and backhand groundstrokes from center court, filmed from an animation-based composite angle. His grips and wrist positions are isolated frame-by-frame, clearly showing distinct wrist lag into contact and controlled, minimal wrist snap on both FH and BH.
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326.6s |
The One Handed Topspin Backhand Part 1
John Yandell’s forehand from the center of the court, filmed from a rear court-level angle. His semi-western grip is evident in the closed racket face at the start of the forward swing, with a clear wrist lag that unwinds into a firm but not exaggerated wrist snap at contact.
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17.5s |
Your Strokes: Kevin Bryant Forehand (2 of 4)
Kevin Bryant's forehand from a neutral position, filmed from a side angle. His shoulders turn well past 90 degrees relative to the net, creating a noticeable trunk coil that then unwinds sequentially from hips to shoulders into contact.
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6.6s |
Novak Djokovic's Forehand: The Full Turn and the Backswing
John Yandell’s hand and racquet animation sequence from a neutral position, filmed from a court-level angle. The follow-through path and subsequent hand separation into a ready position are clearly visible as the weight shifts subtly forward after contact.
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9.9s |
Pete Sampras: New Filming Protocols, Classic Motions
John Yandell’s forehand from the center of the court, filmed from a CourtLevel angle. His compact split step leads into a semi-open stance, with small adjustment steps aligning his outside foot before he drives forward and then recovers with a crossover step back to the middle.
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9.8s |
John Yandell: The One Handed Pro Backhand: Part 3
John Yandell’s serve from the baseline, filmed from a side CourtLevel angle. His shoulder line turns well past perpendicular to the net, creating a pronounced trunk coil that then uncoils sequentially from hips to shoulders into the hitting arm.
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17.2s |
The Sampras Serve: Mystery of the High Elbow
John Yandell's forehand from the center of the court, filmed from a side angle. His shoulders and trunk exhibit a pronounced unit turn with the hitting-side elbow staying high as the torso coils, then uncoils in sequence before the arm accelerates forward.
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9.7s |
January 2008 Issue
John Yandell's forehand contact point animation from center court, filmed from a side angle. The racket face angle at impact alternates between slightly closed and slightly more open while the contact height shifts subtly higher and lower relative to his shoulder line.
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16.6s |
January 2008 Issue
Flash’s FH from the center of the court, filmed from a side CourtLevel angle. The racket meets the ball slightly in front of the lead hip with a closed racket face and a steep low-to-high swing path, creating visible racket head acceleration through contact.
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16.6s |
One Handed Backhand Part 4: The Forward Swing
Animation player's FH from the center of the court, filmed from a side angle. The hips clearly load by turning back while the knees flex, then aggressively uncoil with strong leg drive into contact.
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13.6s |
One Handed Backhand Part 4: The Forward Swing
John Yandell's hitting arm animation from a neutral baseline position, filmed from a side angle. The animation isolates the arm motion so you can clearly see how the hitting-side shoulder and elbow align relative to an open stance base.
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13.6s |
Modern Tennis: Where Are We Now? The Forehand Part 2
John Yandell’s hitting-arm animation sequence from a neutral position, filmed from a side angle. The contact point is shown with the racket face slightly closed and the racket head accelerating forward on a low-to-high path relative to his hitting shoulder.
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5.1s |
Your Strokes: Ingrid Neel Serve (2 of 5)
Ingrid Neel's serve from a central baseline position, filmed from a side angle. Her continental grip is easy to see, with a relaxed wrist that pronates aggressively through contact to send the racquet head up and out toward the target.
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8.4s |
Your Strokes: John Daly: Serve Part 2 (2 of 13)
Jim's serve from the deuce court, filmed from a rear angle. After contact his racquet finishes across his body while his back leg swings forward into the court, bringing him quickly into a balanced ready position.
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4.1s |
Your Strokes: Jonathan Ryle Serve
Jonathan's drop shot from a neutral court position, filmed from an animation-style side angle. His continental grip is evident with a slightly relaxed wrist, allowing the racquet head to stay soft and laid back just before a gentle upward flick at contact.
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3.4s |
Stan Wawrinka's Backhand (2 of 11)
John Yandell's one-handed backhand from a neutral baseline position, filmed from a side court-level angle. His footwork uses a small adjustment hop into a closed stance, with the front foot planting early to anchor the weight shift before the swing.
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3.8s |
Tour Strokes: Justine Henin Serve (2 of 7)
John Yandell’s serve from a stationary position, filmed from a side angle. The side view makes the depth of his shoulder over-rotation and the delayed uncoiling of the trunk relative to the arm swing especially clear in the upward racket acceleration phase.
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10.4s |
Measuring Change: Radar Technology in Teaching
John Yandell’s forehand swing analysis from a neutral position, filmed from an animated side view. The animation clearly depicts his semi-western grip with pronounced wrist lag before contact and a distinct uncoiling of the wrist through pronation into the follow-through.
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6.6s |
Measuring Change: Radar Technology in Teaching (2 of 10)
John Yandell's animated trunk and shoulder turn sequence from a neutral baseline position, filmed from a side angle. The side view makes the degree of upper body coil and the timing of the uncoiling of the shoulders relative to the hips very clear across the individual animation frames.
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6.6s |
John Yandell: A New Teaching System Introduction (2 of 5)
John Yandell’s animation of key stroke positions is presented from a neutral, instructional graphic angle. The wrist positions are clearly segmented frame-by-frame, making it easy to see the progression from laid-back wrist lag through to a firmer, more neutral alignment at contact.
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12.2s |
Ritualizing Your Game (2 of 5)
John Yandell’s animation keys footwork sequence at the baseline, filmed from a side angle. His rhythmic split-step into a neutral stance, followed by compact adjustment steps, makes the timing of his weight transfer and recovery pattern easy to see.
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9.2s |
Your Strokes: Gayahtri Evani: Two Handed Backhand (2 of 6)
Kim's forehand in an open stance from a central baseline position, filmed from a side angle. Her feet plant wide in a stable open stance as she loads on the outside leg, then she uses a small recovery step forward to get back toward a neutral position after contact.
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3.9s |
Your Strokes: Kyle LaCroix Forehand (2 of 5)
Kyle LaCroix's forehand from a central court position, filmed from an animation-style side angle. The side view makes the degree of shoulder turn and trunk coil especially clear, with his torso winding early and then uncoiling in sequence before the arm accelerates through contact.
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9.7s |
Tour Strokes: Coco Gauff Forehand (2 of 5)
John Yandell's left arm animation during the forehand motion from a neutral hitting position, filmed from a side angle. The racket path is synced with the non-hitting arm extension and fold, making it easy to see how the contact point aligns with the lead arm as it tracks forward and then tucks in.
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8.1s |
John Yandell: Sampras Serve: Hip and Shoulder Rotation
John Yandell’s forehand from the center of the baseline, filmed from a side CourtLevel angle. His reduced upper-body turn is paired with a semi-open stance and a compact unit turn, with small adjustment steps setting up the hitting position.
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3.2s |
Measuring Racket Head Speed: A New Study of the Sampras Serve
John Yandell’s movement and positioning along the baseline are shown from a side animation view. His hips and legs clearly cycle through loading and unloading phases, with noticeable knee flex and hip rotation timing as he moves into and out of each stroke.
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4.5s |
Your Strokes: Alan 1st and 2nd Serves (2 of 8)
Mac’s serve from the center of the baseline, filmed from a rear court-level angle. His continental grip is evident in the way the racket face stays neutral at setup, with a clear wrist pronation driving the edge of the racket through the ball at contact.
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6s |
All Court Tennis: The Grips
John Yandell’s mixed-stroke animation sequence from a central baseline position, filmed from a side court-level angle. His hip rotation and leg drive are clearly phased in sync, with a deep knee bend on loading followed by an aggressive push off the ground that brings the hips through ahead of the shoulders.
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5.2s |
Measuring Speed and Spin in Your Game (2 of 4)
John Yandell’s animation of ball speed measurement is presented from a composite side-view angle. The wrist action is frozen frame-by-frame, making it easy to see the exact moment of wrist pronation relative to the racquet’s path through contact.
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6s |
Your Strokes: "Modern" Club Play: The Windshield Wiper
Mike hits a wide forehand wiper from the deuce side, filmed from a court-level side angle. His hips stay relatively closed at load with a deep knee bend, then unwind as his legs drive up and across to create the extreme windshield-wiper motion.
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2.8s |
Your Strokes: "Modern" Club Play: The Windshield Wiper (2 of 10)
Mike’s forehand windshield wiper swing from the center of the court, filmed from a side animation angle. The grip is a semi-western with clear wrist lag in the slot and a pronounced forearm and wrist pronation as the racket wraps across the body after contact.
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2.8s |
Technical Flaws in ProTwo Handers: Milos Raonic (2 of 8)
John Yandell's two-handed backhand from a neutral position, filmed from a side CourtLevel angle. At contact his racket face is slightly closed with the ball struck around waist height, and the swing path drives forward with noticeable racket head acceleration through the hitting zone.
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7.6s |
Don Budge's Forehand: Good Enough for You?
John Yandell’s forehand from a neutral court position, filmed from a side angle. His follow-through finishes high across his body with his weight clearly transferring onto his front foot before he recovers the non-hitting hand back toward a ready position.
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4.9s |
Your Strokes: Shirish Forehand (2 of 21)
Nadal's forehand from the center of the court, filmed from a side angle. His follow-through finishes high across his body while his weight drives forward into the court, quickly bringing both hands back to a ready position for the next shot.
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16.5s |
The Myth of the Recovery Step: Forehand
John Yandell’s forehand from the center of the court, filmed from a rear angle. His follow-through finishes high across his body while his non-hitting hand extends back for counterbalance before he recovers to a neutral ready position.
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10.1s |
The Myth of the Recovery Step: Forehand
John Yandell’s forehand from the middle of the court, filmed from a rear court-level angle. His semi-western grip is evident in the strong wrist lag on the racquet drop, followed by a clear pronation of the wrist and forearm as the strings square up at contact.
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4.7s |
Rafael Nadal's Forehand
John Yandell’s forehand from the deuce court, filmed from a rear court-level angle. His semi-western grip is evident in the strong wrist lag on the racquet drop, followed by a pronounced forearm and wrist pronation through contact.
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15.9s |
Grip Structures in the Modern Forehand Part 2
John Yandell's forehand from the center of the baseline, filmed from a court-level rear angle. His footwork includes a small adjustment hop into a semi-open stance, followed by a clear recovery step that returns him toward a neutral position on the baseline.
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5.9s |
The Extreme Closed Stance: The Pro One Handed Backhand
John Yandell's forehand from a neutral-to-open stance in the middle of the court, filmed from a side CourtLevel angle. His shoulders and trunk load with a pronounced coil against the hips, then uncoil in sequence so that the chest rotates toward the net just after the racquet drops into the slot.
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6s |
The Extreme Closed Stance: Two Handed Backhand Norm?
John Yandell’s forehand from a neutral court position, filmed from a side animation angle. His semi-western grip is evident in the way the racket face stays closed while the wrist maintains deep lag before uncoiling into contact.
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7.5s |
The Extreme Closed Stance: Two Handed Backhand Norm?
Novak Djokovic's movement and stroke animations from a neutral court position, filmed from a side and slightly elevated angle. His shoulders and trunk clearly exhibit a pronounced coil against the hips during unit turn, followed by a sequential uncoiling that transfers rotational energy from the torso into the hitting arm.
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12.8s |
Your Strokes: Sam Forehand (2 of 7)
Novak Djokovic's forehand from a central baseline position, filmed from a side animation angle. The racket face is slightly closed at a contact point just in front of his lead hip, with the racket head accelerating steeply upward along a low-to-high swing path.
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6.4s |
Memories of Indian Wells: The Big 3, Or Is That 4? (2 of 4)
John Yandell’s neutral-position forehand from the center of the baseline, filmed from a side CourtLevel angle. His semi-western grip is clearly visible with a pronounced laid-back wrist position in the racquet drop that gradually unwinds into a firm, stable wrist at contact.
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4.6s |
Your Strokes: Paul Goldstein: Serve Part 2 (2 of 8)
Paul Goldstein's serve from a central baseline position, filmed from a rear court-level angle. At contact his racket face is slightly tilted forward with the ball struck just above full arm extension, and the racket head accelerates upward along a steep, pronated swing path.
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3.7s |
Your Strokes: Paulo Caneiro: Forehand (2 of 7)
Paulo Caneiro's forehand from the Deuce side, filmed from a CourtLevel angle. After contact his follow-through finishes high across his body while his weight transfers onto his front foot and his non-hitting hand moves back toward a neutral ready position.
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4.9s |
John Yandell: Your Strokes: Paul Goldstein's Serve (2 of 9)
Paul Goldstein's serve from a stationary baseline position, filmed from a side CourtLevel angle. His shoulder line stays closed as the trunk coils while the racket drops, then the torso begins an early uncoil that clearly precedes the full acceleration of the hitting arm.
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6.8s |
Your Strokes: Sai Serve (2 of 9)
Pete's serve from a central baseline position, filmed from a side animation angle. The animation clearly depicts his full shoulder turn and pronounced trunk coil, followed by a sequential uncoiling from hips through shoulders into the arm.
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3.2s |
Mental Imagery in Building Strokes (2 of 4)
John Yandell’s forehand from a neutral position, filmed from a side CourtLevel angle. His follow-through wraps fully across his body with the non-hitting hand staying in front as he regains a balanced stance and resets into a ready position for the next shot.
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5s |
Your Strokes: Ryan Dickerson: Two-Handed Backhand (2 of 5)
Ryan Dickerson’s two-handed backhand preparation from center court, filmed from a side angle. The racket head stays above the hands with a slightly closed face as he completes his unit turn, setting up a steep low-to-high swing path into contact.
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9.3s |
The Osmosis Clinic: Indian Wells 2007 (2 of 3)
John Yandell’s FH from a neutral position, filmed from a side CourtLevel angle. His shoulders rotate well past 90 degrees relative to the baseline on the unit turn, then the trunk uncoils ahead of the arm so the racquet lags and whips through contact in a clear kinetic chain sequence.
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22.9s |
Your Strokes: Bob Farese: Forehand Volley (2 of 6)
Bob Farese's forehand volley from the net, filmed from a side angle. His knees stay softly flexed with a slight forward lean from the hips, and his back leg pushes subtly through the shot to support a compact weight transfer toward the ball.
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13.9s |
Your Strokes: Danielle Dotzenrod: Forehand Evolution (2 of 7)
Danielle Dotzenrod's forehand from the center of the baseline, filmed from a side angle. Her footwork includes a clear unit turn with the outside foot planting into a neutral stance before she steps into the ball with her front foot.
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4.9s |
Your Strokes: Norman Ashbrooke Serve (2 of 10)
Norman Ashbrooke’s serve from a central baseline position, filmed from a side CourtLevel angle. His knees stay flexed as the hips tilt slightly forward during the racket drop, with the rear leg driving gently upward to start the upward motion.
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12.5s |
Your Strokes: Jelena Jankovic: Serve (2 of 5)
Jelena Jankovic's serve from a neutral position, filmed from a side angle. Her shoulders rotate well past 90 degrees relative to her hips before uncoiling, with the trunk unwinding sequentially from the pelvis through the torso into the hitting shoulder during the racket drop phase.
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16.3s |
Your Strokes: Olivier Lingband: Serve (2 of 7)
Olivier Lingband's serve from a central baseline position, filmed from a rear court-level angle. The racket drops deep behind his back with the strings facing slightly toward the side fence before accelerating upward into contact.
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9s |
Your Strokes: John Daly Serve Part 1 (2 of 7)
John Daly's serve from the center of the baseline, filmed from a rear court-level angle. His follow-through brings the racket across his body while his weight transfers into the court and his non-hitting hand drops back into a relaxed, balanced finish before he recovers to a ready stance.
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10.9s |
The Two-Handed Backhand: Hand and Arm Rotation
John Yandell's serve from a central position on the baseline, filmed from a side CourtLevel angle. His follow-through brings the racket down on the same side of his body while his weight moves into the court and his non-hitting arm tucks in to help him recover toward a balanced ready stance.
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7.4s |
Serena's Serve and Venus's Two-Hander (2 of 7)
John Yandell's serve from a neutral stance, filmed from a side CourtLevel angle. His deep knee bend and hip coil into the back leg are clearly visible as he loads, then drives upward with the legs to initiate shoulder turn and racket drop.
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8.3s |
Your Strokes: Tyler Zink Serve (2 of 11)
Tyler Zink's serve from the baseline, filmed from a side angle. His stance remains in a strong platform position with a noticeable knee bend before driving upward, and his front foot pivots slightly as he transfers weight into the court.
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3.3s |
Mysteries of the Heavy Ball:Practical Serving Implications (2 of 10)
John Yandell’s serve from the center baseline, filmed from a rear court-level angle. His continental grip is clearly visible with a loose wrist that pronates aggressively through contact, emphasizing the upward and outward racket path.
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4.8s |
Spin Rates and Spin Axis in Elite Serving (2 of 10)
John Yandell’s serve from the center of the baseline, filmed from a rear court-level angle. His follow-through finishes across his body with the non-hitting arm dropping and then returning to a neutral position as he lands inside the court and quickly recovers toward a ready stance.
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4.6s |
Building the Spanish Forehand
John Yandell’s forehand from the middle of the court, filmed from an animation-based side angle. The animation makes the degree of shoulder turn and trunk coil especially clear, with a pronounced separation between hip and shoulder lines as he uncoils into contact.
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9s |
Building the Spanish Forehand
John Yandell’s forehand from the middle of the court, filmed from a side animation angle. The contact point is slightly in front of his body with the racket face very close to vertical, and the racket head accelerates upward on a steep low-to-high path through contact.
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5.5s |
Further Thoughts: The Serve (2 of 20)
John Yandell’s serve from a central baseline position, filmed from a rear court-level angle. His footwork uses a pinpoint stance with the back foot drawing up to the front foot before the knee bend, clearly visible as he drives up into the trophy position.
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5.1s |
Three Lessons I Learned From Rafa in Miami--and You Can Too (2 of 18)
John Yandell’s forehand analysis sequence modeled on Rafael Nadal is filmed from a rear court-level angle. The video makes the extreme semi-western grip and deep wrist lag before rapid pronation at contact clearly visible.
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9s |
Building the Spanish Forehand
John Yandell’s forehand from a neutral baseline position, filmed from a side court-level angle. His semi-western grip is evident in the strong wrist lag on the forward swing, with the wrist staying laid back until just before contact.
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6.2s |
Building the Spanish Forehand
John Yandell’s forehand from the middle of the court, filmed from a side CourtLevel angle. His shoulders coil well past 90 degrees relative to the net before uncoiling in sync with the trunk, making the sequential rotation of hips, torso, and shoulders very clear.
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6.2s |
Building the Spanish Forehand
John Yandell’s forehand from the middle of the court, filmed from a side angle. His shoulders coil well past 90 degrees relative to the hips, and you can clearly see the trunk uncoil leading the arm and racquet into contact in a classic kinetic chain sequence.
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6.2s |
Your Strokes: Phil Picuri Serve (2 of 8)
Roddick's serve from a central baseline position, filmed from a rear court-level angle. His hips load deeply with a pronounced knee bend before driving upward, and you can clearly see his back hip rotating toward the court as his legs extend into the hit.
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2.9s |
Your Strokes: Ted Gregory: One Handed Backhand (2 of 8)
Roger Federer’s groundstrokes from a central baseline position, filmed from a rear court-level angle. His footwork includes a well-timed split-step into quick adjustment steps that set up a strong neutral stance before each shot.
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7.9s |
The Myth of the Dog
John Yandell’s stroke animation from a central court position, filmed from a side angle. His split-step and first adjustment step into a neutral stance are clearly visible as he sequences his weight transfer through each frame of the motion.
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15.1s |
Tennisplayer Approaches 20! (2 of 13)
John Yandell’s stroke animation sequence from a central court position, filmed from a side angle. His follow-through is broken into frame-by-frame segments that make the weight transfer and recovery steps into ready position clearly visible.
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15.8s |
Your Strokes: "Shroud" Forehand (2 of 11)
Roger Federer’s forehand from a neutral baseline position, filmed from a side animation angle. The racket head lags well below the ball in the backswing, with the strings angled slightly closed just before moving forward toward contact.
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6.8s |
The Meaning of Hamburg for Roger and Rafa (2 of 5)
John Yandell’s forehand from the middle of the court, filmed from a rear CourtLevel angle. His semi-western grip is evident in the way the racquet face closes slightly at the bottom of the swing, with noticeable wrist lag that unwinds into a firm, stable wrist at contact.
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4s |
The Osmosis Forehand
John Yandell's forehand and backhand animations from a central baseline position, filmed from a composite side and rear angle. His continental-based grip and minimal wrist deviation are clearly visible, with limited wrist lag and a firm, stable wrist position through contact on both strokes.
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8s |
Roger Federer Serve Locations: Deuce Court
John Yandell's animation of rotational mechanics from a neutral position, filmed from a court-level side angle. The shoulders and trunk can be seen coiling together as a unit, then uncoiling with the trunk initiating the kinetic chain before the shoulders and arm follow through.
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7s |
Tour Strokes: Andrei Rublev Serve (2 of 12)
John Yandell’s serve from a central baseline position, filmed from a rear court-level angle. His hips load deeply with a pronounced knee bend before driving upward, and his rear hip clearly rotates toward the court as his legs extend into the hit.
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14.5s |
Your Strokes: Kyle Doppelt Serve Contact Point (2 of 7)
Salzy's serve from a central baseline position, filmed from a side court-level angle. The side view makes the degree of shoulder-over-shoulder action and timing of trunk uncoiling into contact especially clear, showing how the torso rotation leads the arm swing.
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3.3s |
Your Strokes: Kyle Doppelt Serve (2 of 5)
Kyle Doppelt’s serve from a central baseline position, filmed from a court-level rear angle. His hips load by turning significantly away from the net while the knees bend deeply, and then the legs drive upward to uncoil the hips into contact.
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2.5s |
Mental Imagery: Synthesizing the Physical and Mental Games (2 of 10)
John Yandell’s composite serve motion animation from a central baseline position, filmed from a rear court-level angle. The animation makes it easy to see the deep knee bend in the loading phase and how the legs extend upward in sync with the uncoiling of the hips toward the target.
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6.1s |
Your Strokes: Miller Forehand (2 of 3)
Sampras and Agassi’s groundstrokes in this animation are shown from a side CourtLevel angle. Both players’ recoveries feature a full rotational follow-through that finishes around shoulder height before they quickly bring the racquet back to a neutral ready position with the non-hitting hand helping to center the frame.
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12.3s |
Two Handed Backhand Stances in Women's Pro Tennis
John Yandell's forehand from a semi-open stance, filmed from a side angle. The contact point is slightly in front of his lead hip with the racket face square to the ball and the racket head accelerating upward on a steep low-to-high path.
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10.6s |
Grip Structures in the Modern Forehand
John Yandell’s semi-western forehand from the baseline, filmed from a court-level side angle. His deep knee bend and strong push through the outside leg into hip rotation are clearly visible as he drives up and into contact.
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8.2s |
The Serve and Swinging Volley: Next Revolution?
John Yandell’s animated sequence of Serena Williams’ groundstrokes from a neutral court position, filmed from multiple synchronized angles. The animation makes the degree of shoulder turn and trunk coil easy to compare frame by frame, clearly separating the timing of upper-body rotation from the rest of the kinetic chain.
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10.9s |
The Serve and Swinging Volley: Next Revolution? (2 of 30)
John Yandell’s serve from the center of the baseline, filmed from a side angle. His deep knee bend and pronounced hip drive upward into the ball make it easy to see how the legs initiate the upward motion of the serving motion.
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10.9s |
Do Hitting Arm Positions Really Matter?
John Yandell’s serve from a central position on the baseline, filmed from a side CourtLevel angle. His continental grip remains steady as the wrist moves from a laid-back position into pronounced pronation through contact, making the forearm and racquet rotate clearly toward the target.
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13.1s |
Forehand
John Yandell’s forehand from the center of the court, filmed from a side angle. His footwork pattern into the ball features a compact adjustment step sequence into a neutral stance, with a clear recovery step back toward the center after contact.
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13.1s |
Andy Roddick's Two-Handed Backhand
John Yandell’s forehand from the center of the court, filmed from a side CourtLevel angle. His follow-through wraps across his body with the non-hitting hand extending back for counterbalance before he recovers into a neutral ready position.
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7.9s |
John Yandell: Backhand Volley
John Yandell's forehand swing plane animation from a neutral position, filmed from a side angle. The shoulder line and trunk rotation are broken down frame-by-frame, making the degree of coil and uncoil around the spine axis and its timing in the kinetic chain clearly visible.
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5.7s |
The Myth of Lag and Snap
John Yandell’s forehand from a neutral baseline position, filmed from a side CourtLevel angle. The racket face is slightly closed at a contact point just in front of his lead hip, with a steep low-to-high swing path creating pronounced racket head acceleration through the ball.
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6.7s |
Tour Strokes: Dominic Thiem Second Serve (2 of 7)
John Yandell’s serve stance turn and wind-up sequence from a neutral position, filmed from an animation/composite angle. His follow-through into the loading phase is marked by a clear weight shift onto the front foot while the non-hitting arm stays extended upward before folding into a compact ready position for the upward swing.
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11.9s |
The Modern Pro Slice: Part 2
John Yandell’s serve starting position from the center of the baseline, filmed from a side CourtLevel angle. The racket is held in a neutral, relaxed position with the strings roughly perpendicular to the baseline as the ball and racket begin their synchronized upward movement toward the trophy phase.
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25.4s |
Using the Resources of Tennisplayer: Part 2 (3 of 3)
John Yandell's forehand from the center of the court, filmed from a side CourtLevel angle. His hips load by turning away from the net while the knees flex deeply, then the legs drive up and forward as the hips uncoil into contact.
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4.4s |
Do Hitting Arms Matter? The Two Handed Backhand
John Yandell’s straight-arm forehand from the middle of the court, filmed from a side angle. His semi-western grip is visible with pronounced wrist lag in the forward swing, followed by a clear pronation of the wrist through contact.
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8.1s |
The Two-Handed Backhand: The 4 Variations
John Yandell’s forehand from the baseline, filmed from a side CourtLevel angle. His hips load with a clear coil as the back knee bends deeply, then uncoil as the front leg straightens and drives upward through contact.
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3.9s |
Doing Your Own High Speed Video Analysis Simply and Inexpensively (2 of 6)
John Yandell’s forehand from the center of the court, filmed from a side CourtLevel angle. His hips load with a clear coil against a deep knee bend, then uncoil as his rear leg drives forward to initiate rotation into the shot.
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8.3s |
The Myth of Hitting Around the Ball
John Yandell’s forehand from a neutral baseline position, filmed from an animated side-view angle. The animation clearly illustrates his deep shoulder turn with the hitting-side shoulder rotating well behind the baseline plane, followed by a pronounced trunk uncoil that initiates before the arm accelerates forward.
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6.4s |
Your Strokes: TLM's Extreme Grip Forehand (2 of 16)
TLM's forehand grip animation from a central baseline position, filmed from a side/court-level angle. The animation emphasizes how the extreme grip sets the racquet hand and forearm alignment before the unit turn, affecting the stance setup as the feet prepare to load.
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8.8s |
Federer's Serve Locations: 2nd Serve Placements
John Yandell's serve toss animation from the center of the baseline, filmed from a side angle. His footwork remains stationary in a platform stance while the animation makes it easy to see the subtle upward extension of the front leg synchronized with the tossing arm.
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6.9s |
Roger Federer: Serve Part 2
John Yandell's serve toss from the baseline, filmed from a side angle. His continental grip remains relaxed with minimal wrist flexion, keeping the wrist stable and the racquet face quiet as the tossing arm extends upward.
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8.5s |
Tour Strokes: My Take on Leylah Fernandez's Forehand (2 of 8)
John Yandell's forehand unit turn from the center of the court, filmed from a side angle. His hips and legs load into a strong knee bend with the rear hip coiling deeply, clearly showing how the legs initiate the forward uncoiling into the shot.
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10s |
Your Strokes: Todd Haydon Serve (2 of 13)
Todd Haydon's serve from a stationary front view, filmed from CourtLevel. His shoulders rotate well past 90 degrees relative to his hips on the trophy phase, then the trunk uncoils sequentially from pelvis to ribcage to shoulder as the racquet accelerates upward.
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5.8s |
Your Strokes: Param Srinivas: Straight Arm Forehand (3 of 10)
Param Srinivas's forehand unit turn animation from the middle of the court, filmed from a side angle. The contact point is clearly in front of the body with a straight hitting arm and slightly closed racket face as the racket accelerates low to high through the ball.
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8.1s |
Your Strokes: Francis Tiafoe: Serve (2 of 7)
Francis Tiafoe's serve from a stationary front position, filmed from an animation-style instructional angle. His footwork is static with both feet planted, emphasizing a consistent platform stance and clear weight transfer from the back foot to the front foot during the upward swing.
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8.7s |
Tour Strokes: Jensen Brooksby Serve (2 of 5)
John Yandell's serve from a central baseline position, filmed from a side angle. His upward swing is paired with a pronounced knee bend and a driving front-leg extension that shifts his weight forward into a classic trophy-to-contact sequence.
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5.6s |
Two "Modern" Forehands
John Yandell’s footwork animation variations sequence from a central baseline position, filmed from a side CourtLevel angle. His split-step timing and subsequent adjustment steps are broken down frame-by-frame, clearly showing how he sequences small lateral shuffles into a stable neutral stance before initiating each stroke.
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11.9s |
Your Strokes: Will Campbell Forehand (2 of 5)
Will Campbell's forehand from the Deuce side, filmed from a Rear angle. His shoulders rotate well past perpendicular to the net on the unit turn, then the trunk uncoils ahead of the arm so the racquet lags and whips through contact.
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5s |
Your Strokes: Sumner Chase Two-Handed Backhand (2 of 8)
Sumner Chase's two-handed backhand from a neutral baseline position, filmed from a side CourtLevel angle. His footwork includes a small hop into a neutral stance followed by a firm plant of the front foot before rotation, with a clear recovery step pushing him back toward the center after contact.
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2.2s |
Tour Strokes: Alexander Zverev Serve (2 of 6)
John Yandell’s analysis sequence of Alexander Zverev’s serve footwork is presented from a side animation angle. The shoulder and trunk rotation are broken into discrete frames, making the degree of shoulder turn and the timing of the trunk uncoil relative to the leg drive and landing pattern easy to compare step by step.
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19.2s |
Your Strokes: Shooter McMarco: Backhand (2 of 7)
Federer's one-handed backhand from the baseline on the deuce side, filmed from a rear court-level angle. His follow-through finishes high with the hitting arm extended while his non-hitting hand retracts behind his body as he recovers back toward a neutral ready position.
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6.6s |
Your Strokes: Mike Widell Forehand (2 of 8)
Mike Widell's forehand from the Deuce side, filmed from a rear court-level angle. His hips stay closed during the unit turn and then open explosively as his legs drive up from a deep knee bend into contact.
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14.5s |
Your Strokes: Ingrid Neel Serve (1 of 5)
John Yandell’s serve from a central baseline position, filmed from a rear CourtLevel angle. His continental grip is easy to see in the trophy position, with a relaxed wrist that pronates aggressively through contact before finishing on the opposite side of his body.
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13.5s |
Shot Variations
John Yandell's FH from the Deuce side, filmed from Rear. His semi-western grip is clear, with a distinct laid-back wrist position creating visible lag before a sharp unwinding into contact.
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3.1s |
Shot Variations
John Yandell's forehand from the Deuce side, filmed from a CourtLevel rear angle. At contact the racket face is slightly closed with the ball struck around waist height, and the racket head accelerates steeply upward along a pronounced low-to-high swing path.
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3.8s |
Understanding Andy Roddick's Serve Part 2
John Yandell's forehand from the center of the court, filmed from a rear court-level angle. After contact his follow-through finishes high across his body while his non-hitting hand opens out for balance as he recovers back toward a neutral ready position.
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10.4s |
1-2 Rhythm: Serve
John Yandell’s forehand from the center of the court, filmed from a side angle. His semi-western grip is evident in the laid-back wrist position, with a pronounced wrist lag that unwinds into a controlled, compact snap through contact.
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7.7s |
Forehand
John Yandell’s 3D animation sequence of a groundstroke is presented from a dynamic, rotating virtual camera angle. The contact point is shown with the racket face slightly closed and moving on an upward, inside-to-out path, making it easy to see the exact relationship between the racket head, hand, and ball at impact.
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13.4s |
1-2 Rhythm: Serve
John Yandell’s stroke animation is presented from a composite, side-on court perspective using high-speed video frames. The contact point is isolated frame-by-frame, clearly showing the racket face angle at impact and the exact relationship of the ball to the hitting shoulder line.
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11.4s |
1-2 Rhythm: Serve
John Yandell’s forehand from the middle of the court, filmed from a side animation angle. The contact point is clearly in front of his body with the racket face slightly closed and the racket head accelerating upward on a steep low-to-high path.
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22.9s |
1-2 Rhythm: Serve
John Yandell’s 3D animation of the stroke mechanics is presented from a dynamic composite angle combining side and rear views. The animation makes the degree of shoulder turn and trunk coil extremely clear, with distinct frame-by-frame sequencing of the torso uncoiling ahead of the arm to illustrate the kinetic chain.
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9s |
1-2 Rhythm: Serve
John Yandell’s groundstroke animation from a neutral court position, filmed from a side angle. His follow-through carries the racquet up and across while his weight transfers fully onto the front foot before he returns to a compact ready position.
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10s |
1-2 Rhythm: Serve
John Yandell’s animated stroke sequence from a central baseline position, filmed from a side CourtLevel angle. His semi-western grip is clearly visible with pronounced wrist lag on the forward swing before a sharp, controlled release through contact.
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12.7s |
1-2 Rhythm: Serve
John Yandell’s forehand technical animation from a central court position, filmed from a composite side and rear angle. The animation clearly emphasizes his laid-back wrist position during the forward swing, with a distinct wrist lag that unwinds into controlled pronation through contact.
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4.5s |
Serving Mystery: Hit Up Or Hit Down? (3 of 66)
John Yandell’s serve from a central baseline position, filmed from a side CourtLevel angle. At contact, the racket face is slightly tilted forward with the ball struck just above full arm extension, and the racket head whips up and across, showing a pronounced upward swing path through the hit.
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5.5s |
1-2 Rhythm: Serve
John Yandell’s forehand from the center of the baseline, filmed from a rear CourtLevel angle. His follow-through finishes high with the racquet wrapping across his non-hitting shoulder while his non-hitting hand settles in front of his torso, helping him recover quickly back into a neutral ready position.
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7.5s |
Tour Strokes: Mysteries of Medvedev's Forehand (3 of 83)
John Yandell’s forehand from the center of the baseline, filmed from a side CourtLevel angle. His stance transitions from a semi-open loading position into a neutral alignment at contact, with small adjustment steps taken just before the swing to fine-tune spacing.
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19.9s |
Technical Flaws in ProTwo Handers: Jack Sock (3 of 92)
John Yandell’s two-handed backhand from a neutral baseline position, filmed from a side CourtLevel angle. His relatively firm, semi-continental left-hand grip keeps the wrists quiet through the backswing before a late, compact wrist release at contact.
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20.3s |
Technical Flaws in Pro Two Handers: John Isner (3 of 83)
John Yandell's two-handed backhand from the center of the baseline, filmed from a side CourtLevel angle. His torso coils significantly with both shoulders turning well past perpendicular to the net before uncoiling in sync with his hip rotation through contact.
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7.3s |
1-2 Rhythm: Serve
John Yandell’s stroke animation from a central court position, filmed from a side CourtLevel angle. The sequence makes the degree of shoulder turn and the timing of the trunk uncoil explicit frame by frame, clearly separating upper-body rotation from arm and racquet motion.
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3.5s |
1-2 Rhythm: Serve
John Yandell's animation of stroke mechanics from a central court position, filmed from a composite side and rear angle. The sequence makes it easy to see the racket face stay slightly closed at contact with the ball striking point just in front of the lead hip.
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5.5s |
1-2 Rhythm: Serve
John Yandell’s movement and stroke mechanics from a neutral court position, filmed from a side angle. His hips clearly load by turning sideways before uncoiling, with a deep knee bend and strong leg drive forward that is easy to see from this view.
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31.3s |
1-2 Rhythm: Serve
John Yandell’s stroke animation from a central court position, filmed from a side angle. The animation clearly illustrates how his hips initiate rotation ahead of the shoulders while the knees stay flexed to load and drive through the shot.
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10.1s |
1-2 Rhythm: Serve
John Yandell’s groundstroke animation from a central baseline position, filmed from a side CourtLevel angle. The sequence makes it easy to see the racket face staying slightly closed at contact with the ball struck just in front of his lead hip.
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23.3s |
Your Strokes: Shirish Forehand (3 of 21)
Shirish's forehand from the center of the baseline, filmed from a side animation angle. The animation clearly depicts a semi-western grip with pronounced wrist lag on the racquet drop and a sharp wrist release just before and through contact.
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13.2s |
Your Strokes: Bastiaan One Handed Backhand (3 of 92)
Bastiaan's one-handed backhand from a neutral baseline position, filmed from a side animation angle. His hips clearly coil as he loads on the outside leg, with a deep knee bend that drives upward into extension through contact.
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6.1s |
Your Strokes: Gavin Serve (3 of 65)
Gavin’s serve from a central baseline position, filmed from a side animation angle. The animation clearly depicts a loose wrist with pronounced pronation as the racket accelerates up and through contact.
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3.9s |
Your Strokes: Ryan Serve (3 of 74)
Ryan’s serve from a central baseline position, filmed from a side CourtLevel angle. His deep knee bend and aggressive leg drive upward are clearly visible, along with the hips extending from a loaded, flexed position into full extension through contact.
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10.3s |
Your Strokes: Drew Forehand (3 of 48)
Drew’s forehand from the center of the baseline, filmed from a side CourtLevel angle. You can see a pronounced shoulder turn with the hitting-side shoulder rotating well behind the chin before contact, followed by a clear uncoiling of the trunk that leads the arm through the swing.
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12.3s |
Mysteries of the Heavy Ball:Speed and Spin in the Serves of Pete Sampras and Greg Rusedski (3 of 7)
John Yandell's serve from the deuce court, filmed from a rear court-level angle. His deep knee bend and upward leg drive into contact are clearly visible, with the hips uncoiling from a coiled, side-on position into a more open alignment as he extends off the ground.
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4.3s |
Roger Federer's Serve
John Yandell’s forehand from the center of the court, filmed from a side CourtLevel angle. His semi-western grip is clear as his wrist lags significantly on the forward swing before unhinging into contact.
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12.4s |
What I Learned at Wimbledon (3 of 6)
John Yandell’s forehand from a neutral baseline position, filmed from a side court-level angle. His semi-western grip is evident in the strong racket face tilt, with clear wrist lag on the forward swing that releases into a controlled pronation through contact.
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10.8s |
John Yandell: Del Potro's Forehand Analyzed (3 of 14)
John Yandell's forehand and backhand movement combo from the center of the court, filmed from a side angle. His footwork sequence includes a clear split-step into quick adjustment steps and neutral stance loading before each groundstroke, with efficient recovery back to the center.
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6.2s |
Your Srokes: Jeff Greenwald Serve (3 of 8)
Jeff Greenwald’s serve from a central baseline position, filmed from a side court-level angle. His continental grip is evident in the relaxed hand position, with a pronounced wrist pronation through contact that finishes in a naturally laid-back, relaxed wrist.
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4.2s |
Your Strokes: Andy Roddick's Backhand (3 of 9)
Andy Murray and David Nalbandian rally from a neutral baseline position, filmed from a side animation angle. Murray’s footwork features a pronounced split-step into a semi-open stance on his forehand, while Nalbandian uses quick adjustment steps to set a more neutral stance on his backhand side.
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5.7s |
Your Strokes: Danielle Dotzenrod Two-Handed Backhand
Serena Williams and Maria Sharapova trading groundstrokes from a neutral baseline position, filmed from a side animation angle. The animation makes Serena’s semi-western forehand grip and laid-back wrist lag especially clear at racquet drop, while Sharapova’s more eastern forehand grip is paired with a firmer, less pronated wrist through contact.
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Two "Modern" Forehands
John Yandell’s forehand from the center of the court, filmed from a side angle. His semi-western grip is clearly visible, with the wrist laid back to create pronounced lag that unwinds into a strong pronation through contact.
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4.9s |
The Stringbed and Pro Contact
John Yandell’s stroke is filmed from an above-court animation angle. His hip rotation is clearly sequenced with a strong knee bend and upward leg drive, making it easy to see how his lower body loads and uncoils into the shot.
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3s |
Your Strokes: Kevin Bryant Forehand (3 of 4)
Agassi's forehand finish from the center of the court, filmed from a side angle. His hips fully unwind toward the net while his back knee releases forward, clearly showing how his leg drive carries his weight into the court through the finish.
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4.7s |
Your Strokes: Amber Park Forehand (3 of 10)
Andre Agassi’s and Fernando González’s forehands from a central baseline position, filmed from a 3D animation side angle. The contact point is clearly in front of the lead hip with a slightly closed racket face and a steep upward swing path producing high racket head speed through the strike zone.
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11.8s |
Your Strokes: Alan 1st and 2nd Serves (3 of 8)
Alan's first and second serves from a central baseline position, filmed from a 3D animation side angle. The shoulder and trunk coil clearly past 90 degrees on the trophy phase, then uncoil in a sequenced motion starting from the hips and trunk before the hitting shoulder accelerates up and through contact.
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5.4s |
What I Learned at Wimbledon (2 of 6)
John Yandell’s high-speed animation sequence from a neutral court position, filmed from a side angle. The side view makes the degree of shoulder turn and trunk coil easy to compare frame by frame, clearly separating upper-body rotation from arm swing throughout the kinetic chain.
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6.2s |
Andy Roddick's Two-Handed Backhand
John Yandell’s forehand from the middle of the court, filmed from a side angle. His follow-through finishes high with the racquet wrapping across his body as his weight transfers fully onto his front foot before he recovers toward a neutral ready position.
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9.3s |
Tour Strokes: Dominic Thiem Second Serve (3 of 7)
John Yandell's serve arm action from a neutral position, filmed from a side animation angle. The animation isolates the shoulder rotation and trunk coil, making the timing of upper trunk uncoil relative to the upward throwing-arm motion clearly visible.
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7.4s |
Your Strokes: Arthur Gosnell: Serve (3 of 12)
Arthur Gosnell's serve from a neutral stance, filmed from a side animation angle. The animation clearly depicts a deep shoulder turn with the trunk fully coiled away from the net before uncoiling in sequence from hips to shoulders into contact.
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6.6s |
Tour Strokes: My Take on Sabalenka's Serve (3 of 7)
John Yandell’s serve from a central baseline position, filmed from a side angle. His footwork sequence includes a pronounced platform stance with a controlled knee bend and synchronized drive up into the ball before landing slightly inside the court.
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5.1s |
Novak Djokovic's Forehand: A New Synthesis
John Yandell's 3D animation of the backswing sequence, viewed from a dynamic composite angle. The animation clearly depicts the evolution of the semi-western grip and the progressive wrist lag setting up the racquet drop before forward acceleration.
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6s |
Your Strokes: Ryan Dickerson: Two-Handed Backhand (3 of 5)
Ryan Dickerson's two-handed backhand backswing sequence from a neutral baseline position, filmed from a side animation angle. The side view makes the degree of shoulder turn and trunk coil especially clear, showing his chest rotating well past perpendicular to the net before uncoiling forward in sync with the hips.
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17s |
Myths About Low to High on the Pro Forehand
John Yandell’s backward rotation animation for the forehand is shown from a side, court-level angle. The sequence clearly depicts how his hips and legs preload by turning the hips back over a flexed rear knee before driving forward into the shot.
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5.6s |
The Modern Pro Slice: Part 2
John Yandell's ball bounce animation on the baseline, filmed from a CourtLevel angle. The sequence makes it easy to see how his knees flex and extend in sync with the ball’s rise and fall, emphasizing the timing of leg loading before the stroke.
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4.7s |
Your Strokes: Barry Gaines Forehand (3 of 7)
Barry Gaines's forehand from a central baseline position, filmed from a rear court-level angle. His shoulders rotate well past 90 degrees relative to the net on the unit turn, with a noticeable separation between hip and trunk rotation as he uncoils into contact.
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2.9s |
Your Strokes: Tyler Zink Serve (3 of 11)
Tyler Zink's serve from a stationary front-facing animation, filmed from a CourtLevel angle. His hips load by turning away from the court while the knees flex deeply, then the legs drive up to uncoil the hips into an aggressive, upward rotation.
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7.4s |
Do Hitting Arms Matter? The Two Handed Backhand
John Yandell's forehand from a neutral position, filmed from a court-level side angle. His follow-through wraps across his body while his non-hitting hand extends back for counterbalance before he recovers to a ready stance.
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6.3s |
John Yandell: The Easter Bowl 2007 (3 of 8)
John Yandell’s neutral-court FH from the center of the baseline, filmed from a rear angle. His footwork includes a well-timed split step into a quick adjustment shuffle, setting up a stable semi-open stance before driving through the ball.
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5s |
Wimbledon Journal (3 of 8)
John Yandell's forehand from the center of the baseline, filmed from a side court-level angle. His shoulders rotate well past 90 degrees relative to the net in the backswing, then his trunk uncoils ahead of the arm so the racquet lags and whips through contact in a clear kinetic chain sequence.
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10.5s |
Measuring Speed and Spin in Your Game (3 of 4)
John Yandell’s animation of changing spin mechanics from a central court position, filmed from a side angle. His footwork sequence is broken down frame-by-frame, making it easy to see how his stance transitions and weight shifts adjust with different spin productions.
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14.3s |
Your Strokes: Danielle Dotzenrod: Forehand Evolution (3 of 7)
Danielle Dotzenrod's forehand from a neutral position, filmed from a side animation angle. Her shoulders coil well past perpendicular to the net before uncoiling, with the trunk rotation clearly leading the arm swing through contact into a classic wrap-around finish.
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3.4s |
Your Strokes: Two Handed Backhand Stances (3 of 7)
Player's two-handed backhand in a closed stance from a neutral baseline position, filmed from a side angle. The side view makes the degree of shoulder turn and trunk coil very clear, showing the torso rotating as a unit with the hips before uncoiling into contact.
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13.5s |
Two Handed Backhand Stances in Women's Pro Tennis
John Yandell's forehand from a neutral court position, filmed from a side angle. His follow-through finishes across his body with the non-hitting hand staying back for counterbalance before he recovers into a compact ready position.
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4.3s |
The Pro Return: The One Handed Backhand Drive
John Yandell’s contact point animation during a live point, filmed from a side angle. The hips can be seen staying closed longer through the loading phase with a pronounced knee bend before uncoiling into contact, emphasizing how the legs drive the sequence of the stroke.
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7.7s |
Your Strokes: Olivier Lingband: Serve (3 of 7)
Olivier Lingband's serve from a central baseline position, filmed from a side CourtLevel angle. His deep knee bend and strong upward leg drive into the court are clearly visible as his hips extend and rotate toward the net at contact.
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7.9s |
John Yandell: Forehand Volley
John Yandell’s forehand from the deuce side, filmed from a rear court-level angle. His hips and legs load on a strong, wide base with clear knee flexion before driving upward and into the court as the hips uncoil toward contact.
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6.1s |
Grip Structures in the Modern Forehand
John Yandell’s forehand from the center of the court, filmed from a side CourtLevel angle. His semi-western grip is easy to see in the way his wrist lags behind the racquet head on the forward swing, then straightens into a firm, stable position right at contact.
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2.9s |
John Yandell: Classical Tennis and Modern Tennis
John Yandell’s forehand animation from a central baseline position, filmed from a side CourtLevel angle. The contact point is clearly in front of his body with the racket face slightly closed and the racket head accelerating upward along a steep low-to-high swing path.
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3s |
Your Strokes: "Modern" Club Play: Fully Open Stance (3 of 10)
Djokovic's forehand from a fully open stance in a neutral baseline position, filmed from a side CourtLevel angle. His follow-through wraps high across his body while his weight stays mostly on the outside leg before he recovers into a compact ready position with both hands back on the racquet.
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7.7s |
Your Strokes: Eva So: Forehand (3 of 6)
Eva So's forehand from the center of the baseline, filmed from a side animation angle. The racket face is slightly closed at a contact point just in front of her lead hip, with the racket head accelerating upward on a low-to-high swing path.
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13.2s |
Clay Tech: The Clay Court Solution? (3 of 3)
John Yandell's technology-in-teaching animation sequence, filmed from a composite instructional angle. The racket’s contact point is broken down frame-by-frame, clearly showing incremental changes in racket face angle and path through the hitting zone.
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2s |
Tour Strokes: My Take on Leylah Fernandez's Forehand (3 of 8)
John Yandell's forehand extension animation from a neutral position, filmed from a side angle. The racket face stays relatively square through contact with the ball at about shoulder height, and the swing path continues forward with the racket head extending out toward the target before wrapping across the body.
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10.2s |
Three Lessons I Learned From Rafa in Miami--and You Can Too (3 of 18)
John Yandell’s forehand extension animation from a neutral court position, filmed from a side angle. The sequence clearly illustrates the racket face staying square through contact with the ball before extending forward and slightly upward along the swing path.
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5.3s |
The Spanish Forehand: Stroke Shaping and Hand Feeding
John Yandell’s forehand from a neutral baseline position, filmed from a side CourtLevel angle. His follow-through extends fully across his body with the hitting arm finishing high while his weight transfers forward into the court, bringing him smoothly back toward a ready stance.
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5.3s |
The Myth of the Recovery Step on the Backhand
Federer's forehand from the center of the baseline, filmed from a side CourtLevel angle. His footwork includes a small adjustment hop into a neutral stance, followed by a controlled pivot on the front foot as he transfers weight into the shot.
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Tour Strokes: Andrei Rublev Serve (3 of 12)
John Yandell’s serve from a central baseline position, filmed from an animated side view. At contact his racket face is nearly vertical with a slightly closed angle, striking the ball just above full arm extension while the racket head whips upward along a steep, pronation-driven path.
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7.9s |
Your Strokes: Todd Haydon Serve (3 of 13)
Federer's serve from a central baseline position, filmed from a 3D animation rear angle. The animation clearly depicts a loose continental grip with pronounced wrist pronation through contact and into the follow-through.
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3.7s |
Your Strokes: Larry Landsman: Slice Backhand (3 of 18)
Federer's one-handed slice backhand from a neutral baseline position, filmed from a side CourtLevel angle. His shoulders rotate well past 90 degrees relative to the net before contact, with a pronounced upper trunk coil that unwinds smoothly ahead of the arm swing.
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11.1s |
Your Strokes: Chris Thurstone Forehand (3 of 12)
Federer's forehand from a neutral position, filmed from a side animation angle. His shoulders rotate well past 90 degrees relative to the hips on the unit turn, then the trunk uncoils sequentially from hips to shoulders as the racquet lags behind before contact.
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7.7s |
Your Strokes: Anthony Forehand (3 of 9)
Federer's forehand from the middle of the court, filmed from a side animation angle. The animation clearly depicts his semi-western grip and pronounced wrist lag before a sharp pronation through contact.
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15.9s |
Your Strokes: Todd Haydon Serve
Federer's forehand from the middle of the court, filmed from a side animation angle. At contact the racket face is slightly closed with the ball struck just in front of his lead hip, and the racket head accelerates steeply upward along a low-to-high swing path.
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5.4s |
Your Strokes: Todd Haydon Serve
John Yandell’s forehand from the center of the court, filmed from a side angle. His follow-through wraps fully across his body as his weight moves into the court, and he quickly brings both hands back to a neutral ready position for the next shot.
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9.3s |
Your Strokes: Todd Haydon Serve
John Yandell’s full-stroke animation sequence filmed from a side CourtLevel angle. The hips and legs move through distinct loading and unloading phases, with visible knee flexion into the ground and then strong leg drive that straightens the knees and rotates the hips into contact.
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12.7s |
Your Strokes: Todd Haydon Serve
John Yandell’s forehand from the center of the court, filmed from a side angle. His footwork includes a small adjustment hop into a semi-open stance followed by a clear pivot on the outside leg before driving forward into the shot.
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8.7s |
Your Strokes: Kyle Doppelt Serve Contact Point (3 of 7)
Federer's serve from a central position behind the baseline, filmed from a side animation angle. His follow-through finishes with his hitting arm wrapping across his body as his back leg swings forward into the court, helping him land balanced and ready for the next shot.
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3.6s |
Your Strokes: Carl Sutherland: Slice Backhand (3 of 7)
Federer's slice backhand from the center of the baseline, filmed from a rear court-level angle. His hips stay relatively closed as he steps forward, with a pronounced knee bend on the front leg that supports a low, stable base through contact.
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5s |
Your Strokes: Allan Murphy Forehand (3 of 7)
Federer's forehand from a neutral baseline position, filmed from a side animation angle. His early unit turn and adjustment steps into a semi-open stance are clearly visible, with a small hop into the plant leg before initiating the forward swing.
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4.4s |
Your Strokes: Kyle LaCroix Forehand (3 of 5)
Federer-style forehand model animation from a central baseline position, filmed from a side angle. The side view makes the laid-back wrist and relaxed semi-western grip pressure easy to see as the racquet lags behind the hand before pronating through contact.
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7.7s |
Tomas Berdych's Forehand (3 of 16)
John Yandell's forehand from the middle of the court, filmed from a side angle. At contact, the racket face is nearly square to the ball with the contact point slightly in front of his lead hip and around waist height, and the racket head accelerates along a low-to-high path.
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5.7s |
Your Strokes: Danielle Dotzenrod Forehand (3 of 9)
Federer's forehand from the center of the court, filmed from a side animation angle. His eastern forehand grip is clear, with a pronounced wrist lag as the racquet drops and then a controlled pronation through contact.
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4.1s |
Measuring Change: Radar Technology in Teaching (3 of 10)
John Yandell’s forehand preparation and turn sequence from the center of the baseline, filmed from a side angle. His follow-through leads into a quick recovery with the non-hitting hand returning to the racket and his weight settling back into a neutral ready position.
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11.1s |
Measuring Change: Radar Technology in Teaching
John Yandell’s forehand preparation and unit turn sequence from the center of the baseline, filmed from a rear angle. The racket stays on the hitting side with the strings roughly vertical at the completion of the unit turn, clearly defining the contact plane before the forward swing.
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11.1s |
The Heavy Ball in Modern Pro Tennis (3 of 5)
John Yandell’s forehand from the middle of the court, filmed from an animated side-view angle. The animation clearly depicts his semi-western grip and pronounced wrist lag into contact, followed by a distinct pronation through the hitting zone.
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7s |
Memories of Indian Wells: The Big 3, Or Is That 4? (3 of 4)
John Yandell's serve from a central baseline position, filmed from a side CourtLevel angle. His follow-through carries his hitting arm across his body while his back leg swings forward, bringing him into a balanced, neutral ready position for the next shot.
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2.6s |
John Yandell: A New Teaching System Introduction (3 of 5)
John Yandell’s stroke animation sequence from center court, filmed from a side angle. His footwork pattern is broken into clear incremental steps, making it easy to see how his stance shifts from neutral to more open as he moves through the stroke.
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5.5s |
The Backhand Volley: Variations
John Yandell’s forward swing animation, filmed from a side CourtLevel angle. The sequence makes it easy to see the racket face staying slightly closed through contact with the ball struck around waist height, followed by a smooth upward acceleration of the racket head.
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10s |
Your Strokes: Gayahtri Evani: Two Handed Backhand (3 of 6)
Gayathri Evani's two-handed backhand from a neutral position, filmed from a side animation angle. Her follow-through finishes high with the racket wrapping around her lead shoulder as her weight transfers fully onto her front foot into a balanced recovery stance.
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3.6s |
The One Handed Topspin Backhand Part 2
John Yandell’s forehand grip shift sequence from the center of the baseline, filmed from a side CourtLevel angle. His hand clearly transitions from a more conservative starting grip toward a stronger semi-western position, with the wrist staying relaxed and slightly laid back as the grip change completes just before the forward swing.
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15s |
Don Budge's Forehand: Good Enough for You?
John Yandell’s grip animation sequence from a neutral position, filmed from a side angle. The racket face angle changes clearly through the motion, making it easy to see how the hand position on the handle controls the face orientation at contact.
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12.6s |
John Yandell: Backhand Volley
John Yandell’s forehand grip shift animation from the center of the baseline, filmed from a side angle. His feet stay grounded in a neutral stance while the racquet hand rotates through the grip change, clearly separating upper-body action from lower-body stability.
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6s |
The One-Handed Backhand: Stances
John Yandell's forehand from the Deuce court, filmed from a CourtLevel rear angle. His hips stay closed longer during the unit turn and then uncoil from the ground up, with a clear push off the back leg driving his weight into the shot.
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8.7s |
The Two-Handed Backhand: Hand and Arm Rotation
John Yandell’s forehand arm and hand rotation sequence from a neutral baseline position, filmed from a side CourtLevel angle. His follow-through finishes with the racquet wrapping across his body while his non-hitting hand stays back for counterbalance before he returns to a neutral ready stance.
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19.8s |
Hitting Stances in the Modern Forehand
John Yandell’s forehand from a neutral position, filmed from a side court-level angle. His shoulders and trunk exhibit a pronounced coil with the hitting-side shoulder clearly rotating under the chin before uncoiling in sync with his hips as both feet leave the court.
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3.7s |
Grip Structures in the Modern Forehand Part 2
John Yandell's forehand from the center of the baseline, filmed from a side CourtLevel angle. His vertical finish follow-through brings the racquet up on the hitting side while his weight transfers onto the front foot and he quickly regains a neutral ready position.
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2.7s |
The Two-Handed Backhand: The Hitting Stances
John Yandell's forehand on a high ball from the center of the court in a closed stance, filmed from a rear angle. His hips stay relatively closed as he loads, with a pronounced knee bend and strong upward leg drive to handle the higher contact point.
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6.3s |
Mental Imagery in Building Strokes (3 of 4)
John Yandell’s forehand from a central baseline position, filmed from a side angle. His semi-western grip is easy to see in the way the racquet hand stays relaxed with pronounced wrist lag that gradually unwinds into a controlled, late wrist snap at contact.
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9.1s |
The Two-Handed Backhand: The Forward Swing
John Yandell’s forehand from the center of the court, filmed from a side CourtLevel angle. His hitting arm extends fully through contact with the racquet finishing high across his body while his non-hitting hand settles near his torso before he returns to a neutral ready position.
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12.8s |
Doing Your Own High Speed Video Analysis Simply and Inexpensively (3 of 6)
John Yandell’s indoor stroke animation from center court, filmed from a side CourtLevel angle. The contact point is frozen frame-by-frame so you can see the racket face square to the ball with a slightly upward swing path and consistent spacing from his body.
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12.1s |
Federer's Serve Locations: 1st Serve Ad Court
John Yandell’s internal shoulder rotation serve mechanic from a central baseline position, filmed from a side animation angle. The animation clearly depicts his wrist staying laid back with a loose continental grip as internal shoulder rotation drives the racket head through contact before the forearm and wrist naturally pronate.
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6s |
The Myth of the Archer's Bow
John Yandell’s serve from a central baseline position, filmed from a rear court-level angle. His footwork includes a measured platform stance with minimal rear-foot adjustment before a controlled knee bend and upward drive into the ball.
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5.5s |
Your Strokes: Paulo Caneiro: Forehand (3 of 7)
Paulo Caneiro's forehand from the center of the baseline, filmed from a side angle. His hips stay closed as he loads with a deep knee bend, then unwind aggressively with a strong upward leg drive into contact.
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4.4s |
The 1-2 Rhythm: The Backhand Slice
John Yandell’s forehand from the center of the court, filmed from a court-level side angle. After contact his racquet wraps fully across his body while his non-hitting hand extends back for counterbalance, and he quickly returns to a neutral ready position with his weight settled over his front foot.
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6.6s |
What I Learned from the Inner Game of Tennis: Part 3 (3 of 19)
John Yandell's volley from a neutral net position, filmed from an animation-style side angle. His shoulders and trunk stay relatively quiet with a compact forward turn, making the small uncoil of the torso into contact easy to see in relation to the stable upper body line.
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5.4s |
The Two-Handed Backhand: The 4 Variations
John Yandell's backhand from a neutral court position, filmed from a court-level side angle. His shoulders rotate as a single unit with the trunk into a deep coil on the unit turn, then uncoil in sequence from hips to shoulders, making the degree of upper-body rotation and timing of trunk release easy to distinguish frame by frame.
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7.3s |
Your Strokes: Sai Serve (3 of 9)
Kramer's serve from a central baseline position, filmed from a side animation angle. The animation clearly depicts his deep knee bend and strong leg drive upward as his hips uncoil into the court.
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3.1s |
Your Strokes: Kyle Doppelt Serve (3 of 5)
Kyle’s serve from a central baseline position, filmed from a rear court-level angle. His feet stay anchored in a platform stance with a clear knee bend before driving upward, and his back foot slides up only slightly as he transfers weight into the court after contact.
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4.1s |
Your Strokes: John Daly: Serve Part 2 (3 of 13)
John Daly's serve from a central baseline position, filmed from a rear court-level angle. At contact his racket face is slightly closed with the ball struck just above full extension, and the racket head accelerates steeply upward along the right side of his body.
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12.3s |
Novak Djokovic's Forehand: The Full Turn and the Backswing
John Yandell’s forehand from the center of the court, filmed from a side angle. His hips load with a clear coil against a strong base, with noticeable knee flex and leg drive upward and forward into the ball.
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3.3s |
Measuring Racket Head Speed: A New Study of the Sampras Serve
John Yandell’s groundstrokes from the center of the baseline, filmed from a rear court-level angle. His follow-through finishes high with the hitting arm wrapping across his body while his non-hitting hand helps him quickly recover back into a neutral ready position on the baseline.
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4.6s |
John Yandell: The One Handed Pro Backhand: Part 3
John Yandell’s forehand from a neutral court position, filmed from a side CourtLevel angle. His semi-western grip is evident in the low hand position on the handle, with a pronounced wrist lag maintained deep into the forward swing before uncoiling at contact.
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8.4s |
Your Strokes: Gavin Rossdale Forehand (3 of 7)
Gavin Rossdale's forehand from the baseline, filmed from a low court-level angle. His late contact is evident as his open stance leaves his weight slightly back on the rear foot before a delayed transfer forward into the shot.
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3.6s |
Mental Imagery: Synthesizing the Physical and Mental Games (3 of 10)
John Yandell’s animated composite stroke sequence from center court, filmed from a side angle. The shoulder and trunk rotation are broken into discrete frames, making the degree of shoulder turn and the timing of the trunk uncoil relative to the arm swing clearly distinguishable.
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2.4s |
The Forehand Volley Variations
John Yandell’s forehand from the center of the court, filmed from a side CourtLevel angle. The racket face is slightly closed at a contact point just in front of his lead hip, with the racket head accelerating upward on a steep low-to-high path.
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9.2s |
Mysteries of the Heavy Ball:Practical Serving Implications (3 of 10)
John Yandell's serve from the deuce court, filmed from a rear court-level angle. His hips load in a pronounced coil with deep knee flexion, then uncoil upward as the legs drive, showing a clear upward thrust from the back leg into the landing leg.
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9.2s |
Roger Federer versus Rafael Nadal: Round 3 (3 of 5)
John Yandell playing a point from a neutral baseline position, filmed from a rear, slightly elevated angle. The contact point is clearly in front of his body with the racket face square to the ball, and the swing path shows the racket accelerating upward and across the body for heavy topspin.
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13.1s |
The One Handed Topspin Backhand Part 1
John Yandell’s forehand from the center of the court, filmed from a side angle. His hips load with a deep knee bend and then extend upward into contact, showing a clear sequence of leg drive leading hip rotation.
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13.8s |
The Forehand Followthrough: Extension and Rotation
John Yandell’s forehand from the center of the baseline, filmed from a side CourtLevel angle. After contact his follow-through wraps across his body with the non-hitting hand extending back for counterbalance before he quickly returns to a neutral ready position.
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14s |
Your Strokes: Jelena Jankovic: Serve (3 of 5)
Jelena Jankovic’s serve from a central baseline position, filmed from a rear court-level angle. Her follow-through finishes with her hitting arm dropping naturally across her body as her back leg swings forward to help her recover into a balanced ready stance.
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12.1s |
Your Strokes: Mike Widell Forehand (3 of 8)
Mike Widell's forehand from a neutral position, filmed from an animation-based side angle. His semi-western grip is clear as the left hand bails out early, with the hitting wrist staying laid back well into the forward swing before releasing through contact.
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6.4s |
Your Strokes: Miller Forehand (3 of 3)
Miller's forehand from the center of the baseline, filmed from a side CourtLevel angle. At contact the racket face is slightly closed with the ball struck around waist height, and the racket head accelerates steeply upward on a low-to-high swing path.
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6.4s |
All Court Tennis: Tennis That Lasts a Lifetime
John Yandell’s forehand from the center of the court, filmed from a side CourtLevel angle. His follow-through wraps across his body as his weight transfers fully onto his front leg, and he quickly brings both hands back toward a compact ready position for the next shot.
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9.2s |
How Rafael Nadal Won the 2006 French Open (3 of 6)
John Yandell’s forehand from the Deuce side, filmed from a CourtLevel front angle. His hips load in a semi-open position with a pronounced knee bend, then drive up and around as the outside leg pushes through the shot.
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3.2s |
The Omosis Clinic Report 2007 (3 of 5)
John Yandell's forehand from the deuce side, filmed from a rear court-level angle. His semi-western grip is clear, with a pronounced wrist lag on the forward swing that releases into a controlled, stable wrist position at contact.
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12.2s |
Your Strokes: TLM's Extreme Grip Forehand (3 of 16)
Nadal's forehand finishes from a central baseline position, filmed from a rear court-level angle. His footwork includes a pronounced split-step into aggressive lateral pushes, finishing with an open stance and a characteristic reverse finish that lands him slightly inside the baseline before recovering.
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8.1s |
The Wimbledon Final 2008: A Different Story? (3 of 22)
John Yandell's forehand from a central baseline position, filmed from a rear CourtLevel angle. After contact his follow-through finishes high with the racquet wrapping across his body while his non-hitting hand helps him coil back into a balanced, neutral ready position for the next shot.
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7.8s |
Rafael Nadal's Forehand
John Yandell’s forehand grip animation from a neutral position, filmed from a side angle. The hips and legs are shown in a static, neutral stance with minimal knee bend, emphasizing how lower-body alignment supports the grip change rather than dynamic leg drive.
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5.6s |
Your Strokes: Jacky Duchamp Forehand (3 of 9)
Nadal model forehand from a neutral baseline position, filmed from a side CourtLevel angle. His hips stay closed during the unit turn then whip open into contact as his legs drive up from a deep knee bend.
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9s |
Roger Federer's Warm Up (3 of 7)
John Yandell’s neutral stance net play is filmed from a court-level front angle. After contact he carries his racquet hand up and across his body while his weight moves forward into the court, finishing in a compact ready position near the net.
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90.8s |
Your Strokes: Paul Goldstein: Serve Part 2 (3 of 8)
Paul Goldstein's serve from a central baseline position, filmed from a rear court-level angle. His follow-through carries his racquet arm across his body while his back leg swings forward, helping him land inside the court and quickly regain a balanced ready position.
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4.7s |
Tour Strokes: Maria Sharapova Serve (3 of 5)
John Yandell’s serve from a central baseline position, filmed from a side CourtLevel angle. His feet stay grounded through contact with a stable platform stance, making it easy to see the lack of forearm pronation and the limited weight transfer into the court.
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10.6s |
Your Strokes: Rohan Gupta Forehand
Novak Djokovic's footwork movement pattern in a neutral court position, filmed from a side animation view. His recovery steps clearly bring him back to a balanced, shoulder-width stance with knees flexed and weight centered, ready for the next shot.
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13.5s |
Your Strokes: Rohan Gupta Forehand
John Yandell’s groundstroke animation from center court, filmed from a side angle. His footwork pattern is clearly segmented into split-step, pivot, and weight-transfer into a neutral stance, making each adjustment step easy to distinguish frame by frame.
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4.3s |
Your Strokes: Rohan Gupta Forehand (3 of 19)
Novak Djokovic's forehand from a neutral position, filmed from an animation-based side view. His shoulders coil well past 90 degrees relative to his hips before uncoiling, with the trunk leading the forward rotation ahead of the arm and racquet in a clear kinetic chain sequence.
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7.3s |
Technical Flaws in ProTwo Handers: Milos Raonic (3 of 8)
John Yandell’s two-handed backhand from a neutral baseline position, filmed from a side CourtLevel angle. His compact adjustment steps into a neutral stance are easy to see, with a small split-step leading into a forward plant of the front foot before rotation through contact.
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7s |
Your Strokes: "Shroud" Forehand (3 of 11)
Novak Djokovic's forehand from a neutral position, filmed from an animated side angle. His shoulders turn well past 90 degrees relative to the baseline, with a pronounced trunk coil that uncoils sequentially from hips to shoulders before the arm accelerates.
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6.5s |
The Extreme Closed Stance: Two Handed Backhand Norm?
John Yandell’s forehand from a neutral court position, filmed from an animated multi-angle composite. His hips and legs clearly shift between open and neutral stances, with distinct knee flex and leg drive phases illustrated in the animation for each segment of the stroke.
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12s |
The New Indian Wells: Larry Ellison, Robert Lansdorp, Free Mojitos (4 of 5)
John Yandell’s explanatory segment on stroke animation and osmosis concepts, filmed from a CourtLevel instructional angle. The contact point and racket position are broken down frame-by-frame, with specific emphasis on racket face orientation and how subtle changes in swing path affect impact geometry.
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4.2s |
Tour Strokes: Justine Henin Serve (3 of 7)
John Yandell’s serve from a neutral position, filmed from an animated side view. His follow-through finishes with his hitting arm extending down across his body as his weight lands on the front foot and his non-hitting hand drops back toward his hip, setting up recovery into a balanced ready stance.
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12.6s |
The Myth of the Dog
John Yandell’s forehand mechanics animation from a central baseline position, filmed from a side angle. His footwork sequence clearly displays a timed split step into a semi-open stance, followed by a controlled pivot and weight transfer into the front leg.
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5.5s |
John Yandell: Your Strokes: Paul Goldstein's Serve (3 of 9)
Pete’s serve from a central baseline position, filmed from a rear angle. His hips stay closed through the trophy phase with a deep knee bend, then drive upward as the back leg straightens into contact.
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8.6s |
Your Strokes: John Daly Serve Part 1 (3 of 7)
Philippoussis's serve from a central baseline position, filmed from a rear court-level angle. At contact his racket face is slightly closed with the ball struck just above full extension, and the racket head whips upward on a steep swing path for heavy topspin.
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9.5s |
Serena's Serve and Venus's Two-Hander (3 of 7)
John Yandell's serve from the center baseline, filmed from a rear court-level angle. His pinpoint stance into a deep knee bend drives his weight up and into the court, and after contact his arm extends fully with the non-hitting hand dropping for balance before he lands in a balanced, ready position.
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9.5s |
Novak Djokovic's Forehand: The Unit Turn
John Yandell’s forehand from the center of the court, filmed from a side CourtLevel angle. His shoulders rotate well past 90 degrees relative to the baseline before uncoiling in sync with the hips, making it easy to see the trunk leading the arm into contact.
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4.2s |
Your Strokes: Evan Chiang Serve (3 of 20)
Evan Chiang's serve from a neutral court position, filmed from an animation-style side angle. The animation makes the upward leg drive and hip extension into contact very clear, with the rear hip pushing forward as the knees straighten.
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2.9s |
Your Strokes: Bob Farese: Forehand Volley (3 of 6)
Bob Farese's forehand volley from the net area, filmed from a side CourtLevel angle. His continental grip is clearly visible, with a firm but relaxed wrist that stays stable through contact without excessive wrist snap.
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12.8s |
John Yandell: The Easter Bowl 2007 (4 of 8)
John Yandell’s forehand from the center of the baseline, filmed from a rear court-level angle. His semi-western grip is evident in the way the racket face stays closed with a pronounced wrist lag that unwinds into a clear pronation through contact.
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5.3s |
Your Strokes: Phil Picuri Serve (3 of 8)
Phil Picuri's serve from a central baseline position, filmed from a rear court-level angle. His follow-through brings the racquet down across his body while his back leg swings forward, helping him land inside the court and recover quickly toward a balanced ready position.
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4.9s |
Pete Sampras: New Filming Protocols, Classic Motions
John Yandell’s forehand swing path animation from a neutral position, filmed from a side angle. The animation emphasizes the forehand’s wrist lag into contact, clearly depicting how the racquet head trails the hand before releasing forward.
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8.6s |
Pete Sampras: New Filming Protocols, Classic Motions
John Yandell's forehand from a neutral position, filmed from a side animation angle emphasizing racket path. His semi-western grip is evident in the laid-back wrist, with a clear lag phase that unwinds into pronounced forearm pronation through contact.
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8.6s |
The Forehand Return of Serve Part 2: Extreme Grips
John Yandell’s ready position and grip preparation at the center of the baseline, filmed from a court-level front angle. His follow-through into the ready stance includes both hands on the racquet in front of his body with knees flexed and weight evenly distributed, clearly setting up for quick recovery to either side.
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15.7s |
The Extreme Closed Stance: The Pro One Handed Backhand
John Yandell’s forehand release sequence from a neutral baseline position, filmed from a side animation angle. The animation clearly illustrates his laid-back wrist position prior to contact and the subsequent pronation of the forearm and wrist through the release phase.
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10.3s |
Your Strokes: Phil Picuri Forehand (3 of 7)
Robin's forehand from the middle of the court, filmed from a side animation angle. The racket face is slightly closed at a contact point just in front of the lead hip, with the swing path accelerating low to high for heavy topspin.
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21.5s |
How Roger Federer Won the US Open (3 of 7)
John Yandell's net play sequence at the net, filmed from a court-level front angle. His shoulders stay noticeably closed through the trunk coil as he moves forward, then uncoil in sync with his upper arm rotation to time the volley contact in front of his body.
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3.3s |
The Meaning of Hamburg for Roger and Rafa (3 of 5)
John Yandell’s animation of Roger Federer’s inside-out forehand D the Line from a neutral court position, filmed from a rear angle. The sequence makes it easy to see Federer’s slightly closed racket face at contact with the ball struck around waist height and the racket head accelerating steeply upward along the swing path.
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7.4s |
Your Strokes: Ingrid Neel Serve (3 of 5)
Roger's serve from a central baseline position, filmed from a 3D animation side angle. His shoulders rotate well past 90 degrees relative to the hips, creating a pronounced trunk coil that clearly unwinds from the legs upward through the torso before the arm accelerates.
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6.9s |
Tour Strokes: Coco Gauff Forehand (3 of 5)
John Yandell’s trunk and shoulder rotation animation from a neutral position, filmed from a side angle. The sequence clearly depicts the degree of shoulder turn relative to the hips and the timing of the uncoiling of the trunk initiating before the arm and racquet follow.
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11.8s |
Tour Strokes: Kei Nishikori Serve (3 of 7)
John Yandell's rotational animation of the serve motion from a neutral position, filmed from a 3D composite side/back angle. The sequence makes the degree of shoulder turn and trunk coil very clear, with distinct frames showing how the torso uncoils ahead of the hitting arm in the kinetic chain.
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5.9s |
Federer's Serve Locations: 2nd Serve Placements
John Yandell’s animation of rotational mechanics in the stroke is presented from a composite, multi-angle view. The sequence makes the progressive wrist pronation and controlled grip pressure through contact especially clear, as the racquet face alignment changes frame by frame.
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11.2s |
Roger Federer: Serve Part 2
John Yandell's FH from the Deuce side, filmed from a CourtLevel rear angle. His hips load in a closed position with a deep knee bend, then uncoil as his legs drive up and forward into contact.
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10.2s |
Roger's Revenge: Wimbledon 2007 (3 of 15)
John Yandell's running forehand passing shot from a neutral position, filmed from a side angle. His shoulders and trunk load with a pronounced coil against the direction of movement, then uncoil in sequence from hips to shoulders to arm as he contacts the ball on the run.
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5.2s |
The Serve and Swinging Volley: Next Revolution?
John Yandell’s neutral stance forehand from the center of the court, filmed from a side angle. His hips load by turning slightly away from the net while his knees flex deeply, then his rear leg drives forward to uncoil the hips into contact.
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8.2s |
The Serve and Swinging Volley: Next Revolution? (3 of 30)
John Yandell's animation sequence on serve and swinging volley strategy, filmed from a composite analytical angle. His footwork patterns are broken into clear frame-by-frame segments, making it easy to see the split-step timing and transition steps as he moves from baseline preparation into the attacking position.
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8.2s |
Your Strokes: Sam Forehand (3 of 7)
Sam's forehand from a central baseline position, filmed from a side animation angle. The animation clearly depicts a full shoulder turn with the trunk coiling early and then uncoiling in sequence from hips to shoulders through contact.
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14.1s |
Roger Federer Serve Locations: Deuce Court
John Yandell’s serve using the same ball toss for multiple deliveries, filmed from a 3D animation perspective. The contact point is clearly above his outstretched hitting shoulder with a slightly closed racket face and a steeply upward swing path visible into and through the strike.
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12.9s |
Your Strokes: Jonathan Ryle Serve
Sampras's forehand drop shot from the center of the court, filmed from a side animation angle. The racket face is noticeably open at contact with the ball struck just below net height, and the swing path is shortened to decelerate the racket head quickly after impact.
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3.4s |
John Yandell: Sampras Serve: Hip and Shoulder Rotation
John Yandell’s forehand unit turn from the center of the baseline, filmed from a rear angle. His shoulders and trunk coil together into a deep turn with the non-hitting arm extended across the body, then uncoil in sequence from hips to shoulders to arm, clearly separating upper and lower body rotation.
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10s |
New Teaching Method: Slice Backhand Ball Flights (3 of 20)
John Yandell's topspin forehand from the center of the court, filmed from an animated 3D instructional angle. His hips and legs are shown loading with a deep knee bend and then driving upward and into rotation, clearly separating hip turn from shoulder turn to model efficient lower-body mechanics.
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7.1s |
Further Thoughts: The Serve (3 of 20)
John Yandell’s serve from a neutral teaching position, filmed from a side angle. His hips stay closed to the net as his knees bend deeply in the loading phase, then the legs drive upward to help his rear hip rotate up and over into a classic shoulder-over-shoulder motion.
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7s |
Your Strokes: Alex Mikhailov One-Handed Backhand (3 of 8)
Alex Mikhailov's one-handed backhand from a neutral position, filmed from an animation-style instructional angle. The animation clearly separates shoulder rotation from hip movement, making the degree of upper trunk coil and the timing of shoulder uncoil especially easy to distinguish.
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9.5s |
Do Hitting Arm Positions Really Matter?
John Yandell’s serve from a central position, filmed from a side animation angle. His hips load by turning away from the court while the knees flex deeply, then the legs drive up to extend the torso into contact as the hips uncoil toward the target.
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5.7s |
Forehand
John Yandell’s serve from a central baseline position, filmed from a side CourtLevel angle. His follow-through brings his racquet down across the body as his back leg swings forward into the court, setting up a balanced, neutral ready position for the next shot.
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5.7s |
Your Strokes: Param Srinivas: Straight Arm Forehand (4 of 10)
Param Srinivas's straight-arm forehand from a neutral baseline position, filmed from a side court-level angle. His shoulders rotate well past 90 degrees in the backswing, then uncoil ahead of the hips so the trunk leads the arm into contact.
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4.8s |
The Forehand Return of Serve Part 1: Compact Classical
John Yandell’s split-step and movement animation from center court, filmed from a side angle. His hips and knees clearly flex into a compact loading position before pushing off, emphasizing how the legs drive the first step in different movement directions.
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9.8s |
The Myth of Lag and Snap
John Yandell’s forehand animation from a neutral baseline position, filmed from a side court-level angle. His follow-through finishes high with the racquet wrapping across his body while his non-hitting hand stays back to help rotation and he quickly regains a balanced ready stance for recovery.
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6.8s |
Tour Strokes: Jensen Brooksby Serve (3 of 5)
John Yandell’s serve stance sequence from the center of the baseline, filmed from a side animation angle. His hips and legs move from a wider, flexed base into a deeper knee bend with the rear hip sitting back, clearly showing how the leg drive initiates the upward motion.
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23.3s |
Andy Murray and the Open Stance Forehand
John Yandell’s neutral and open stance forehands from the baseline, filmed from a side CourtLevel angle. His shoulder line closes significantly relative to his hips in the unit turn, then the trunk uncoils ahead of the arm with a clearly visible separation and re‑rotation sequence.
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10.8s |
Stan Wawrinka's Backhand (3 of 11)
John Yandell’s animation of Stan Wawrinka’s one-handed backhand grip from a neutral position, filmed from a composite instructional angle. The sequence makes the strong eastern backhand grip and firm yet relaxed wrist position clear, with minimal wrist flexion through contact and a stable, laid-back racquet angle.
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7s |
Modern Tennis: Where Are We Now? The Forehand Part 2
John Yandell's forehand from the center of the baseline, filmed from a side CourtLevel angle. His footwork features a measured adjustment step into a neutral stance, with the hitting arm staying straight as his weight transfers from the back foot to the front foot through contact.
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3.7s |
Tennisplayer Approaches 20! (3 of 13)
John Yandell's forehand from the middle of the court, filmed from a side CourtLevel angle. The high-speed view makes the slightly closed racket face at contact and the upward, low-to-high swing path through the hitting zone very clear.
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5.3s |
Your Strokes: Ted Gregory: One Handed Backhand (3 of 8)
Ted Gregory’s one-handed backhand from a neutral baseline position, filmed from a side angle. His follow-through finishes high with the hitting arm extending forward while his weight transfers onto the front foot and his non-hitting hand counterbalances behind his body before he recovers to a ready stance.
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6.2s |
The Myth of Hitting Around the Ball
John Yandell’s animated stroke sequence from a central court position, filmed from a side angle. His footwork pattern is broken into frame-by-frame segments, clearly separating the split step, initial pivot, and adjustment steps into distinct positions for detailed stance analysis.
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8s |
Your Strokes: Sumner Chase Two-Handed Backhand (3 of 8)
Sumner Chase's two-handed backhand from a neutral baseline position, filmed from a side animation angle. The hips visibly preload with a strong coil as the knees flex deeply, then uncoil in sync with an aggressive upward leg drive through contact.
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3.1s |
Tactical Evolution: The Middle Third (1 of 12)
John Yandell’s point-play sequence from a neutral baseline position, filmed from a rear CourtLevel angle. The contact point shows his racket face slightly closed at waist height with a forward-accelerating swing path that clearly separates the hitting phase from the recovery phase.
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7.8s |
Your Strokes: "Modern" Club Play: The Windshield Wiper (3 of 10)
Your Strokes animation of a forehand windshield wiper swing from the center of the court, filmed from a side angle. The contact point is slightly in front of the lead hip with the racket face mildly closed, and the racket head accelerates upward and across the body in a pronounced windshield-wiper path.
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8.1s |
Your Strokes: Ryan Dickerson: Forehand (3 of 13)
Ryan Dickerson's forehand from a neutral baseline position, filmed from a side animation angle. At contact, the racket face is slightly closed with the ball struck around waist height, and the racket head accelerates steeply upward along a low-to-high path.
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10.5s |
Don Budge's Forehand: Good Enough for You?
John Yandell’s forehand unit turn animation from the center of the baseline, filmed from a side CourtLevel angle. His semi-western grip is set early and the animation clearly illustrates how the wrist stays laid back in a stable lag position through the completion of the unit turn.
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5.1s |
The Two-Handed Backhand: Preparation and Backswing
John Yandell's forehand unit turn medley from the center of the court, filmed from a side CourtLevel angle. The racket stays on the hitting side during the unit turn with the strings roughly perpendicular to the baseline, and contact is made slightly in front of the lead hip with the racket head accelerating on a low-to-high path.
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18.3s |
Your Strokes: Norman Ashbrooke Serve (3 of 10)
Norman Ashbrooke’s serve from a central baseline position, filmed from a side court-level angle. His hips stay closed as he bends deeply through the knees, then drive upward with a clear uncoiling of the hips leading the upward swing.
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2.7s |
Your Strokes: Vin Miller: Serve (3 of 10)
Vin Miller's serve from the center of the baseline, filmed from a rear court-level angle. His feet stay grounded in a platform stance with a clear knee bend before driving upward, and his back foot pivots inward as he moves into the racket drop phase.
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4.7s |
Your Strokes: Francis Tiafoe: Serve (3 of 7)
Francis Tiafoe's serve from a neutral position, filmed from a side animation angle. At contact his racket face is slightly closed with the ball struck just above full extension, and the racket head whips up and across his body with an exaggerated arm action.
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17.7s |
Your Strokes: Will Campbell Forehand (3 of 5)
Will Campbell's forehand from the center of the court, filmed from a side CourtLevel angle. His semi-western grip is clear with a relaxed wrist that stays laid back through the forward swing before releasing slightly at contact.
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3.6s |
Ritualizing Your Game (3 of 5)
John Yandell’s forehand from the center of the court, filmed from a side CourtLevel angle. His hips load by turning partially away from the net while the knees sink into a deep flex, then the legs extend forward and up to drive the hips into an aggressive wiper-style rotation through contact.
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2.9s |
The Myth of the Magic Bullet
John Yandell’s forehand from the center of the court, filmed from a side angle. After contact his follow-through wraps across his body with the wrist snapping upward, and he quickly re-centers his stance with both hands returning to the ready position in front of his torso.
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7.4s |
Your Strokes: Bryan Yeager One Handed Backhand (3 of 10)
Bryan Yeager's one-handed backhand from the baseline, filmed from a rear court-level angle. His footwork features a small adjustment hop into a closed stance, followed by a pronounced front-foot plant that anchors his weight before he drives through the shot.
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4.1s |
What is ISR? The Forehand Volley
John Yandell’s 3D animation sequence of Alexander Zverev’s groundstrokes from a composite instructional angle. The animation makes the degree of shoulder turn and trunk coil especially clear, with distinct frames showing how the upper body uncoils in sync with hip rotation through contact.
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16.4s |
Tour Strokes: Alexander Zverev Serve (3 of 6)
John Yandell’s 3D animation of Alexander Zverev’s serve shoulder action is presented from a dynamic, rotating virtual camera angle. The sequence makes the timing of wrist pronation and the alignment of the racquet head with the forearm especially clear as the hitting arm moves up into and through contact.
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13.8s |
Your Strokes: Andy Plunkett: 1-Handed Backhand (3 of 8)
Andy Plunkett's one-handed backhand from a neutral baseline position, filmed from a side CourtLevel angle. His shoulders rotate well past 90 degrees on the unit turn, creating a pronounced trunk coil that unwinds in sequence from hips to shoulders into contact.
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5.6s |
The Upward Swing: Federer's Serve in High Speed and High Def
John Yandell’s serve from the baseline, filmed from a rear CourtLevel angle. His continental grip is evident in the slightly angled racket face, and you can clearly see the pronounced wrist pronation through and after contact.
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6.3s |
Your Strokes: Shooter McMarco: Backhand (3 of 7)
Shooter McMarco's two-handed backhand from a neutral baseline position, filmed from a rear court-level angle. The racket face is slightly closed at contact with the ball struck around waist height, and the swing path drives forward with noticeable racket head acceleration through the hitting zone.
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6.1s |
The Upward Swing: Federer's Serve in High Speed and High Def
John Yandell's low contact point forehand from the Deuce side, filmed from a CourtLevel rear angle. His shoulders stay heavily closed through the unit turn with a pronounced trunk coil, then uncoil in sequence from hips to shoulders as he rotates up and across the low ball.
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5.2s |
Grip Structures in the Modern Forehand
John Yandell’s forehand from a central baseline position, filmed from a rear court-level angle. His footwork includes a well-timed split step into a semi-open stance, followed by a controlled recovery step that returns him quickly to the center of the baseline.
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7s |
Serving Mystery: Hit Up Or Hit Down? (4 of 66)
John Yandell’s serve from a central baseline teaching position, filmed from a side CourtLevel angle. His footwork uses a pinpoint stance with the back foot drawing up to the front foot before the knee bend, making the upward leg drive and weight transfer easy to track frame by frame.
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9.9s |
1-2 Rhythm: Serve
John Yandell’s forehand from the center of the court, filmed from a side CourtLevel angle. At contact, the racket face is nearly vertical with the ball struck slightly in front of his lead hip and just below shoulder height, and the racket head accelerates upward on a steep low-to-high path.
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7.9s |
Tour Strokes: Mysteries of Medvedev's Forehand (4 of 83)
John Yandell’s forehand from a neutral court position, filmed from a side angle. His hips load by turning away from the net with a pronounced knee bend, then uncoil as his legs drive upward and forward into contact.
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10.7s |
Technical Flaws in Pro Two Handers: John Isner (4 of 83)
John Yandell’s two-handed backhand from a neutral baseline position, filmed from a side CourtLevel angle. His relatively relaxed top-hand grip and laid-back hitting wrist are easy to see as the racquet lags behind his body turn before the wrists release through contact.
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9.9s |
Technical Flaws in ProTwo Handers: Jack Sock (4 of 92)
John Yandell’s two-handed backhand from the baseline, filmed from a rear court-level angle. After contact he extends the racquet fully toward the target before wrapping it around his body, with his weight continuing forward into a balanced, square recovery stance.
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14.8s |
1-2 Rhythm: Serve
John Yandell’s stroke animation sequence from a neutral baseline position, filmed from a composite multi-angle court-level view. His follow-through is broken into key recovery checkpoints, clearly showing how his weight transfers forward into a balanced ready position with the non-hitting hand resetting on the racquet handle.
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10s |
1-2 Rhythm: Serve
John Yandell’s forehand from the center of the baseline, filmed from a side CourtLevel angle. His follow-through finishes high with the racquet wrapping across his body while his non-hitting hand extends back for counterbalance before he recovers into a compact ready position.
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10.6s |
1-2 Rhythm: Serve
John Yandell’s forehand from the center of the baseline, filmed from a rear court-level angle. His semi-western grip is clearly visible in the takeback, with pronounced wrist lag maintained into the forward swing before releasing into contact.
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7.4s |
1-2 Rhythm: Serve
John Yandell’s stroke animation from a central court position, filmed from a side angle. The sequence makes it easy to see the racket face orientation staying stable through contact as the racket head accelerates along the intended swing path.
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9.2s |
1-2 Rhythm: Serve
John Yandell’s groundstroke animation from center court, filmed from a side angle. His timing of the split step into a semi-open stance is clearly visible, with small adjustment steps aligning his body before the forward swing.
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12.5s |
Forehand
John Yandell’s forehand from the middle of the court, filmed from a side angle. His footwork uses a small adjustment hop into an open stance, then a controlled recovery step that returns him to a ready position on the baseline.
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14.7s |
1-2 Rhythm: Serve
John Yandell’s groundstroke from the center of the court, filmed from a side CourtLevel angle. His follow-through carries his racquet up and across his body while his weight transfers fully onto his front foot before he recovers back toward a neutral ready position.
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10.5s |
Your Strokes: Ryan Serve (4 of 74)
Ryan's serve from a central baseline position, filmed from an animated side-on angle. The animation clearly depicts a full shoulder turn with pronounced trunk coil, followed by a sequential uncoiling from hips to shoulders into the hitting phase.
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19.3s |
Your Strokes: Drew Forehand (4 of 48)
Drew’s forehand from the center of the court, filmed from a side angle. The side view makes it clear that he maintains a laid‑back wrist with noticeable lag during the forward swing before releasing it into contact.
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11.2s |
Your Strokes: Gavin Serve (4 of 65)
Gavin's serve from a central baseline position, filmed from a side angle. After contact he lets his hitting arm finish across his body while his back leg swings forward into the court, bringing him quickly into a balanced ready stance.
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3.8s |
Your Strokes: Bastiaan One Handed Backhand (4 of 92)
Bastiaan's one-handed backhand from a neutral baseline position, filmed from a side animation view. The side angle makes the pronounced shoulder turn and deep trunk coil easy to see, along with the sequential uncoiling of hips, torso, and shoulder into contact.
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16.4s |
1-2 Rhythm: Serve
John Yandell’s forehand from the center of the court, filmed from a court-level angle. His footwork includes a compact split step into an open stance, with a small adjustment step before contact and a clear recovery step back to a neutral ready position.
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5.8s |
1-2 Rhythm: Serve
John Yandell’s forehand from the center of the baseline, filmed from a side CourtLevel angle. His semi-western grip and pronounced wrist lag are clearly visible as the racquet head trails his hand before uncoiling into contact.
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5.7s |
1-2 Rhythm: Serve
John Yandell’s animation sequence of multiple groundstrokes from a neutral baseline position, filmed from a side and partially elevated angle. The shoulder and trunk rotation can be compared frame by frame, making it easy to see how his upper body coil loads early and then uncoils in sync with leg drive through contact.
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14.9s |
The Myth of the Magic Bullet
John Yandell’s stroke animation from a central court position, filmed from a side angle. The shoulder and trunk rotation are broken into distinct frame-by-frame segments, making the degree of upper body coil and the timing of the uncoil through contact clearly visible.
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6.4s |
1-2 Rhythm: Serve
John Yandell’s serve from a neutral stance in the center of the baseline, filmed from a side CourtLevel angle. His shoulders rotate well past 90 degrees relative to the net during the trophy phase before the trunk uncoils in sequence from hips to shoulders as he drives up to contact.
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12.3s |
1-2 Rhythm: Serve
John Yandell’s stroke animation from a central court position, filmed from a side angle. His footwork pattern is broken into clear incremental frames, making it easy to see the timing of his split step and the transition into an open stance as he sets up for the shot.
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16.9s |
Spin Rates and Spin Axis in Elite Serving (3 of 10)
John Yandell's first serve from the deuce court, filmed from a rear court-level angle. His continental grip stays stable through the motion while the wrist pronates aggressively after contact, emphasizing spin axis and heavy-ball serve characteristics.
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6.5s |
Roger Federer's Serve
John Yandell’s stroke from a neutral court position, filmed from a side angle. His hips load by turning away from the net while the knees flex deeply, then the legs drive up and forward to unwind the hips into contact.
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10.7s |
Your Strokes: Andy Roddick's Backhand (4 of 9)
Andy Roddick's backhand InsideOut from a neutral court position, filmed from an animation-based side angle. His hips and legs clearly show a strong knee bend on the loading leg followed by an aggressive hip uncoil that drives his weight into the court.
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5.1s |
Your Strokes: Danielle Dotzenrod Two-Handed Backhand
Generic serve motion from a central baseline position, filmed from a side animation view. The animation clearly depicts the shoulders tilting on a steep angle while the trunk coils and uncoils from a deep turn into a full forward rotation through contact.
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Your Strokes: Kyle LaCroix Forehand (4 of 5)
Kyle LaCroix's forehand from a neutral court position, filmed from a side angle. His footwork includes a small adjustment hop into a loaded neutral stance, followed by a clear pivot and recovery step that returns him to a ready position on the baseline.
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12.4s |
The Two-Handed Backhand: Preparation and Backswing
John Yandell's forehand unit turn sequence from the center of the baseline, filmed from a side CourtLevel angle. The racket stays on the hitting side with a laid-back wrist as the shoulders coil, setting the strings in a slightly closed position well before the forward swing and contact.
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8.4s |
Your Strokes: Phil Picuri Serve (4 of 8)
Andy’s serve from the center baseline, filmed from a rear court-level angle. His shoulder line turns well past 90 degrees relative to the net while the trunk coils, then uncoils in sequence with the racket drop as the shoulders begin to rotate toward contact.
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8.5s |
Andy Murray and the Open Stance Forehand
John Yandell’s FH preparation and unit turn sequence from the middle of the court, filmed from a side CourtLevel angle. His semi-western grip is already set on the takeback, with the wrist in a laid-back position that increases lag as the shoulders complete the unit turn.
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7.3s |
Tour Strokes: Dominic Thiem Second Serve (4 of 7)
John Yandell’s serve from a neutral position, filmed from a side angle. His hips stay relatively closed as his knees bend into the loading phase, then drive upward with noticeable leg extension that sequences into his arm angle at contact.
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6s |
Your Strokes: Ryan Dickerson: Forehand (4 of 13)
Ryan Dickerson's forehand from a neutral baseline position, filmed from a side animation angle. At contact, the racket face is slightly closed with the ball struck around waist to chest height, and the racket head accelerates upward on a steep low-to-high path.
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11.5s |
Your Strokes: Param Srinivas: Straight Arm Forehand (5 of 10)
Param Srinivas's straight-arm forehand from a central baseline position, filmed from a side animation angle. The animation clearly depicts deep knee flexion and forward-driving hip rotation as the legs load and then extend into the shot.
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8.3s |
Your Strokes: Jonathan Ryle Serve
Player's groundstroke from a neutral central position, filmed from a rear animation angle. The animation clearly depicts exaggerated backward shoulder and trunk rotation, emphasizing how the upper body coils against the hips before uncoiling forward in the kinetic chain.
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9.9s |
Your Strokes: Anthony Forehand (4 of 9)
Anthony’s forehand from the center of the baseline, filmed from a side CourtLevel angle. His shoulders and trunk coil early with a clear separation between hip and shoulder line, then uncoil in sequence so the chest rotates fully toward the net at contact.
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9s |
Do Hitting Arms Matter? The Two Handed Backhand
John Yandell’s serve from a central baseline position, filmed from a side CourtLevel angle. The contact point is struck well into the court with the racket face slightly closed and the racket head accelerating steeply upward along the edge of the ball.
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11.9s |
Modern Tennis: Where Are We Now? The Forehand Part 2
John Yandell's forehand from a neutral baseline position, filmed from a side CourtLevel angle. At contact his bent hitting arm keeps the racket face slightly closed with the contact point just in front of his hip, and the racket head accelerates steeply upward along the swing path.
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3.5s |
Tomas Berdych's Forehand (4 of 16)
John Yandell’s forehand contact height animation, filmed from a side composite angle based on Tomas Berdych’s stroke. From this view, you can see the semi-western grip setting the racquet face slightly closed with a stable wrist and minimal last-moment wrist snap through contact.
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3.3s |
Doing Your Own High Speed Video Analysis Simply and Inexpensively (4 of 6)
John Yandell’s stroke animation sequence from a central court position, filmed from a side CourtLevel angle. The frames make it easy to see his consistent semi-continental grip and the way his wrist maintains a stable, slightly laid-back position through contact before relaxing in the follow-through.
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4.4s |
Mysteries of the Heavy Ball:Practical Serving Implications (4 of 10)
John Yandell’s serve motion from a deuce-court position, filmed from a side CourtLevel angle. At contact, the racket face is slightly tilted forward with the ball struck just above full extension, and you can see the racket head accelerating steeply upward along the swing path for maximum spin.
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12.5s |
John Yandell: Sampras Serve: Hip and Shoulder Rotation
John Yandell’s forehand from the middle of the court, filmed from a side angle. His hips load by turning away from the net with a deep knee bend, then uncoil as his rear leg drives forward into contact.
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3s |
Roger Federer Serve Locations: Deuce Court
John Yandell’s forehand from the middle of the court, filmed from a side angle. After contact he extends his follow-through forward with his hitting arm while his non-hitting hand stays back to help his torso decelerate and return to a neutral ready position.
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10s |
Your Strokes: Sumner Chase Two-Handed Backhand (4 of 8)
Flash’s two-handed backhand from a neutral baseline position, filmed from a court-level rear angle. The rear view makes it easy to see the shoulders close well past perpendicular to the net on the unit turn, then unwind in sequence with the trunk leading the arms through contact.
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4.6s |
Novak Djokovic's Forehand: The Unit Turn
John Yandell’s animation of stroke checkpoints is presented from a neutral instructional angle. The sequence makes the progressive changes in wrist position and grip pressure at each key frame easy to compare, especially the transition from laid‑back wrist to more neutral alignment at contact.
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4.4s |
Your Strokes: Chris Thurstone Forehand (4 of 12)
Chris Thurstone's forehand from the center of the court, filmed from a side angle. His preparation includes an early unit turn into a neutral stance, with a small adjustment step forward before planting the front foot for contact.
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9.8s |
Your Strokes: John Daly Serve Part 1 (4 of 7)
John Daly's serve from a central baseline position, filmed from a rear court-level angle. His continental grip is clearly visible with a relaxed hand, and you can see a pronounced wrist pronation as the racket accelerates up through contact.
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18.2s |
Your Strokes: Ryan Dickerson: Two-Handed Backhand (4 of 5)
Ryan Dickerson's two-handed backhand contact position from the baseline, filmed from a side animation angle. His dominant hand maintains a firm semi-western grip while the non-dominant hand controls the racquet face, with a stable wrist and minimal wrist flexion at the exact contact point.
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7.3s |
John Yandell: Del Potro's Forehand Analyzed (4 of 14)
John Yandell’s forehand contact-height animation from a neutral court position, filmed from a side CourtLevel angle. The sequence makes the semi‑western grip and stable, slightly laid‑back wrist at contact easy to see across different contact heights.
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8.5s |
John Yandell: The Easter Bowl 2007 (5 of 8)
John Yandell’s forehand from the center of the baseline, filmed from a court-level side angle. His follow-through wraps across his body with his non-hitting hand extending back for counterbalance before he recovers into a neutral ready position.
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4.6s |
Serena's Serve and Venus's Two-Hander (4 of 7)
John Yandell's forehand from a neutral position, filmed from a side CourtLevel angle. His shoulders and trunk show a pronounced coil with the hitting-side shoulder clearly rotating under the chin before uncoiling through contact in a sequential, kinetic-chain-driven motion.
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4.2s |
Your Strokes: Danielle Dotzenrod Forehand (4 of 9)
Danielle Dotzenrod's forehand from the middle of the court, filmed from a side angle. Her hips and legs load with a noticeable knee bend and delayed hip rotation, with the rear leg driving forward as the hips uncoil into the forward swing.
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3.7s |
Personality and Playing Style
John Yandell’s forehand technical animation from a central court position, filmed from a side angle. The sequence makes the strong laid-back wrist position and gradual uncoiling into neutral at contact easy to see, especially how the wrist lag is maintained deep into the forward swing.
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6.2s |
Personality and Playing Style
John Yandell’s forehand from the center of the court, filmed from a side angle. His follow-through wraps fully across his body while his non-hitting hand extends back for counterbalance before he recovers into a neutral ready position.
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6.2s |
Personality and Playing Style
John Yandell’s forehand and backhand stroke animations from center court, filmed from a composite side and rear angle. The sequences make the semi-western forehand grip and eastern backhand grip easy to see, along with the distinct wrist lag into the slot and controlled pronation through contact on both sides.
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6.2s |
Forehand
John Yandell’s doubles point animation from a central court position, filmed from a court-level angle. The contact points are sequenced frame-by-frame so you can see the exact racket face angle progression through impact on each stroke.
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14.2s |
Do Hitting Arm Positions Really Matter?
John Yandell’s doubles point animation sequence from a central court position, filmed from a composite graphic angle. The synchronized frames make it easy to compare the degree of shoulder turn and timing of trunk uncoil across different strokes, emphasizing how his upper body rotation sequences into each shot.
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14.2s |
John Yandell: The Forehand: Where Are We Now?
John Yandell’s movement and stroke elements sequence from a central baseline position, filmed from a CourtLevel rear angle. His footwork includes a well-timed split step into small adjustment steps that set up a neutral stance before each groundstroke.
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9.5s |
Your Strokes: Evan Chiang Serve (4 of 20)
Evan Chiang's serve from a central baseline position, filmed from a side CourtLevel angle. His shoulders rotate well past 90 degrees relative to his hips on the trophy phase, then the trunk uncoils sequentially from pelvis to ribcage into contact.
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3.5s |
The Forehand Followthrough: Extension and Rotation
John Yandell’s forehand from a central court position, filmed from a side CourtLevel angle. At contact his racket face is nearly square to the net with the ball struck around waist height, and the racket head accelerates on a steep low-to-high path that continues well up and around his shoulder.
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6.8s |
The Extreme Closed Stance: Two Handed Backhand Norm?
John Yandell’s forehand from the center of the court, filmed from a rear court-level angle. At contact, the racket face is slightly closed with the ball struck just in front of his lead hip, and the upward swing path produces a pronounced low-to-high racket head acceleration through the hitting zone.
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6.7s |
Your Strokes: Tyler Zink Serve (4 of 11)
Federer's serve from a central baseline position, filmed from a side animation angle. The side view makes the pronounced wrist pronation through contact and relaxed continental grip especially clear.
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6.9s |
The Extreme Closed Stance: Two Handed Backhand Norm?
Roger Federer's footwork sequence from the center of the baseline, filmed from a side animation angle. The animation clearly depicts his racket staying relaxed and slightly laid-back at hip height as his feet adjust, emphasizing how the racket lags behind his body movement before accelerating into contact.
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7.6s |
The Extreme Closed Stance: Two Handed Backhand Norm?
John Yandell’s forehand from the center of the court, filmed from a side angle. His follow-through finishes high with the racquet wrapping across his body while his weight transfers fully onto the front foot and his non-hitting hand settles near his torso as he recovers to a ready position.
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10.2s |
The Extreme Closed Stance: Two Handed Backhand Norm?
John Yandell’s forehand from a neutral baseline position, filmed from a side CourtLevel angle. The racket face is slightly closed at a contact point just in front of his lead hip, with a steep low-to-high swing path producing high racket head speed through the hitting zone.
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8.3s |
The Net Game: Macro Perspective
John Yandell’s forehand from the middle of the court, filmed from a side angle. His follow-through finishes high with the racquet wrapping across his body while his non-hitting hand stays back to help stabilize his torso and set up a balanced recovery to ready position.
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13.7s |
The Serve and Swinging Volley: Next Revolution? (4 of 30)
John Yandell’s forehand from the center of the court, filmed from a side angle. His semi-western grip is clear as his wrist maintains a relaxed lag position on the forward swing before uncoiling into a controlled, compact release at contact.
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13.7s |
The Myth of the Recovery Step: Pro Backhands
John Yandell’s forehand from a neutral baseline position, filmed from an animation-style side angle. His shoulders and trunk coil deeply with the non-hitting arm extending forward, then uncoil in a clearly sequenced rotation where the hips initiate and the shoulders follow through into contact.
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9.3s |
How Rafael Nadal Won the 2006 French Open (4 of 6)
John Yandell's one-handed backhand from the baseline, filmed from a rear court-level angle. His shoulders coil well past 90 degrees relative to the net before uncoiling, with the trunk rotation clearly leading the arm swing into contact.
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3.3s |
Your Strokes: Allan Murphy Forehand (4 of 7)
Federer's forehand from a neutral position, filmed from a side court-level angle. His shoulders turn well past 90 degrees relative to the net before uncoiling, with the trunk leading the forward swing and the arm lagging slightly to sequence the kinetic chain.
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5.7s |
Hitting Stances in the Modern Forehand
John Yandell's forehand on a high ball from a neutral court position, filmed from a rear court-level angle. At contact, the racket face is slightly closed with the ball struck well above shoulder height, and the swing path drives steeply up the back of the ball with pronounced racket head acceleration through the contact zone.
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7.6s |
Your Strokes: Amber Park Forehand (4 of 10)
Federer's forehand from a neutral central position, filmed from an animated side angle focused on the hitting arm and body. His hips and legs load with a deep knee bend and clear hip coil before uncoiling upward, showing strong leg drive into the shot despite the simplified animation.
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6s |
The Myth of the Archer's Bow
John Yandell’s forehand mechanics animation from a neutral position, filmed from a side angle. His follow-through finishes with the torso fully rotated and the weight clearly transferred onto the front leg before he returns toward a balanced ready stance.
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11.1s |
Your Strokes: Esaam Ismail: Serve (4 of 6)
Federer's serve from the baseline, filmed from a side angle. His rhythmic footwork into a pinpoint stance is clear, with the back foot drawing up to the front foot before an aggressive knee bend and upward drive into the court.
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6.9s |
Your Strokes: Todd Haydon Serve (4 of 13)
Federer's serve from a central baseline position, filmed from a side animation angle. The shoulder line rotates well past 90 degrees relative to the hips, creating a pronounced trunk coil that then uncoils sequentially from pelvis to shoulders into the hitting arm.
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12s |
One Handed Backhand Part 4: The Forward Swing
John Yandell’s forehand finish from the center of the court, filmed from a rear CourtLevel angle. His follow-through wraps fully across his body with the non-hitting hand settling near his torso before he recovers back into a compact ready position.
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16.5s |
Tour Strokes: My Take on Leylah Fernandez's Forehand (4 of 8)
John Yandell's forehand finishes from center court, filmed from a court-level side angle. His shoulders and trunk move through distinct finish positions, making it easy to see how the degree of shoulder turn and timing of trunk uncoil vary with different swing paths.
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11.7s |
What is "True" in Tennis?
John Yandell’s forehand finishes from the center of the court, filmed from a side CourtLevel angle. The racket face can be seen closing slightly through contact with a steep low-to-high swing path, finishing high with the strings facing somewhat forward.
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16.4s |
Memories of Indian Wells: The Big 3, Or Is That 4? (4 of 4)
John Yandell's backhand return from the deuce court, filmed from a rear court-level angle. At contact his racket face is slightly closed with the ball struck around waist height, and the racket head accelerates forward on a relatively straight path toward the target before wrapping across his body.
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3.7s |
Your Strokes: Arthur Gosnell: Serve (4 of 12)
Arthur Gosnell's serve from a stationary front view, filmed from a court-level angle. At contact, the racket face is slightly tilted forward with the ball struck just above full arm extension, emphasizing a steep upward swing path and rapid racket head acceleration into the court.
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2.4s |
The Wimbledon Final 2008: A Different Story? (4 of 22)
John Yandell's forced error strategy point from a neutral baseline position, filmed from a court-level side angle. His hips stay relatively closed through contact while his knees stay flexed, showing how sustained leg bend and gradual hip rotation support consistent depth until the opponent breaks down.
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20.7s |
Mental Imagery: Synthesizing the Physical and Mental Games (4 of 10)
John Yandell’s full-turn forehand preparation from the baseline, filmed from a side court-level angle. At contact his racket face is almost square to the ball with a slightly closed angle, meeting the ball just in front of his lead hip as the racket accelerates on an upward, inside-to-out swing path.
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3.2s |
Your Strokes: Gayahtri Evani: Two Handed Backhand (4 of 6)
Gayathri’s two-handed backhand from a neutral baseline position, filmed from a side animation angle. Her shoulders rotate well past 90 degrees relative to the net before uncoiling, with the trunk leading the forward swing and the arms lagging slightly to create a clear sequential kinetic chain.
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3.7s |
The Pro Slice and Your Slice
John Yandell’s groundstroke with heavy topspin from a neutral baseline position, filmed from a graphic animation angle. The animation clearly depicts the delayed wrist lag and subsequent controlled wrist pronation through contact that produce the pronounced topspin.
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4.2s |
Grip Structures in the Modern Forehand Part 2
John Yandell's FH high ball from a central court position, filmed from a CourtLevel Side angle. His shoulders turn well past perpendicular to the net on the unit turn, then uncoil ahead of the hips to drive trunk rotation up through the contact point on the rising ball.
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3.2s |
Your Strokes: John Daly: Serve Part 2 (4 of 13)
Greg’s serve from a central baseline position, filmed from a rear court-level angle. His continental grip is firm with a noticeable relaxed wrist lag in the trophy phase that turns into clear pronation through contact.
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13.2s |
Ritualizing Your Game (4 of 5)
John Yandell’s forehand from the center of the baseline, filmed from a side CourtLevel angle. His semi-western grip is evident in the closed racket face on the backswing, and the side view makes the forearm-to-racket angle and delayed wrist release into contact especially clear.
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21.7s |
Your Strokes: Gavin Rossdale Forehand (4 of 7)
Tim Henman's forehand from a central baseline position, filmed from a side animation angle. The contact point is slightly in front of his lead hip with the racket face moderately closed, and you can see the racket head accelerate upward along a low-to-high path through the ball.
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6.2s |
Your Strokes: Barry Gaines Forehand (4 of 7)
Henman's forehand from the center of the court, filmed from a rear court-level angle. His eastern forehand grip is clear, with a noticeable laid-back wrist creating lag before a controlled release through contact.
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5.8s |
The Backhand Volley: Variations
John Yandell’s forehand from the center of the court, filmed from a side angle. His hips stay relatively closed as the hitting arm moves, with a stable base in the legs and minimal knee bend emphasizing upper-body mechanics over leg drive.
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8.7s |
John Yandell: Forehand Volley
John Yandell's forehand from the center of the court, filmed from a side CourtLevel angle. His shoulder line turns well past 90 degrees relative to the baseline, with a pronounced trunk coil that clearly unwinds ahead of the hitting arm to sequence the kinetic chain.
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5.3s |
Your Strokes: Sai Serve (4 of 9)
Unknown player's serve footwork animation from the center of the baseline, filmed from a side angle. The server uses a distinct hop into the court after landing from the serve, with both feet leaving the ground together to aid forward momentum and recovery.
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5.4s |
The Forehand Volley Variations
John Yandell's FH from the Deuce side, filmed from a CourtLevel angle. His semi-western grip is evident in the strong wrist lag on the forward swing, with a clear pronation of the wrist and forearm just after contact.
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8.3s |
Your Strokes: Ingrid Neel Serve (4 of 5)
Ingrid Neel's serve from a neutral middle position, filmed from a side angle. Her deep knee bend and strong upward leg drive into contact are clearly visible, along with her hips opening toward the court as she extends.
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7.6s |
Your Strokes: Jacky Duchamp Forehand (4 of 9)
Jacky Duchamp's forehand from a neutral baseline position, filmed from a side animation angle. The side view makes the semi-western grip and pronounced wrist lag before forward acceleration clearly visible.
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3.8s |
The One Handed Topspin Backhand Part 2
John Yandell’s forehand grip change sequence from the center of the baseline, filmed from a side CourtLevel angle. His footwork remains mostly stationary with a slight adjustment step as he shifts the racquet hand and subtly aligns his stance from a more neutral position into a semi-open base before initiating the forward swing.
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8.6s |
Measuring Change: Radar Technology in Teaching (4 of 10)
John Yandell’s forehand from the center of the court, filmed from a side CourtLevel angle. His footwork includes a clear unit turn into a semi-open stance, with the outside foot planting first before he pivots and loads on the back leg.
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7.9s |
Measuring Change: Radar Technology in Teaching
John Yandell’s forehand from a neutral court position, filmed from a side angle. His hips load by turning as a unit with the shoulders while the knees flex deeply, then the legs drive upward and forward to initiate hip rotation into contact.
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7.9s |
Your Strokes: Kevin Bryant Forehand (4 of 4)
Kevin Bryant's forehand from the center of the court, filmed from a side angle. After contact his racquet wraps high over his shoulder while his weight transfers onto his front foot and he quickly returns his non-hitting hand to help reestablish a ready position.
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10.6s |
Tennisplayer Approaches 20! (4 of 13)
John Yandell’s groundstroke animation from a central court position, filmed from a side CourtLevel angle. His semi-western grip and relaxed wrist lag are clearly visible as the racket head trails behind his hand before a controlled, pronated release through contact.
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4.8s |
Tour Strokes: Jensen Brooksby Serve (4 of 5)
John Yandell’s serve from a stationary position, filmed from a side angle. His deep knee bend leads into a pronounced upward leg drive with clear weight transfer onto his front foot before he lands balanced and ready for the next shot.
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25.1s |
Your Strokes: Kyle Doppelt Serve (4 of 5)
Kyle Doppelt's serve from a central baseline position, filmed from a rear court-level angle. His continental grip stays firm with a relaxed hand, and you can clearly see pronounced wrist pronation through contact as the racquet edge leads and then snaps outward toward the target.
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6.7s |
Your Strokes: Kevin Patrick: Forehand (4 of 8)
Kevin Patrick’s forehand from a neutral central position, filmed from a side animation view. His shoulders and trunk exhibit a pronounced coil with the left arm stretching across the body, then a clear uncoiling sequence where the torso leads the arm swing into contact.
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6.7s |
Pete Sampras: New Filming Protocols, Classic Motions
John Yandell's forehand contact point animation from the left side, filmed from a side angle. His stance remains mostly neutral at contact, with his lead foot set and minimal weight shift, making it easy to see how his feet stay grounded as the racquet moves through the strike zone.
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4.9s |
Your Strokes: Ted Gregory: One Handed Backhand (4 of 8)
Mac’s one-handed backhand from a neutral baseline position, filmed from a side animation angle. His eastern backhand grip is clear, with a laid-back wrist creating noticeable racket lag before he firms it up through contact.
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11.3s |
Tour Strokes: Coco Gauff Forehand (4 of 5)
John Yandell’s forehand from the deuce court, filmed from a court-level side angle. His follow-through finishes high with the hitting arm extending across his body while his weight moves forward into the court, and he quickly returns the racquet to a neutral ready position with both hands on the handle.
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6.4s |
The Two-Handed Backhand: The 4 Variations
John Yandell's forehand from a neutral court position, filmed from a court-level side angle. His shoulders turn well past 90 degrees in the unit turn, with a clearly visible sequential uncoiling of trunk and shoulders into contact.
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7.4s |
The Myth of Lag and Snap
John Yandell’s mixed-stroke animation medley from a central baseline position, filmed from a CourtLevel angle. The animations make the contact point and racket face angle at impact especially clear, with each frame freezing the racket’s position relative to the ball for detailed comparison across strokes.
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11s |
Technical Flaws in ProTwo Handers: Milos Raonic (4 of 8)
John Yandell’s two-handed backhand from a neutral baseline position, filmed from a side CourtLevel angle. His shoulders turn well past 90 degrees relative to the net, creating a pronounced trunk coil that uncoils in sequence from hips to shoulders as the racquet accelerates forward.
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4.5s |
The Two-Handed Backhand: Hand and Arm Rotation
John Yandell’s forehand from a neutral position, filmed from a side court-level angle. His semi-western grip is clear with a pronounced wrist lag on the forward swing that straightens just before contact.
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23.2s |
Novak Djokovic's Forehand: A New Synthesis
John Yandell’s various strokes are shown from multiple court positions, filmed from mixed angles. Across the animations you can clearly see his consistent knee flex at preparation and the coordinated hip rotation driving out of the legs on each swing.
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8.2s |
The Myth of the Recovery Step: Forehand
John Yandell’s groundstroke from a neutral position, filmed from a side angle. His hips load by turning slightly away from the net as his knees flex deeply, then drive upward and forward together to initiate the uncoiling of the stroke.
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18.6s |
The Myth of the Recovery Step: Forehand
John Yandell’s forehand from a neutral baseline position, filmed from a side CourtLevel angle. At contact, the racket face is slightly closed with the ball struck just in front of his lead hip at roughly waist height, and the racket head accelerates steeply upward along a low-to-high path.
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9.6s |
Myths About Low to High on the Pro Forehand
John Yandell’s extreme forehand rotation sequence from a neutral baseline position, filmed from a side animation angle. His semi-western grip is paired with pronounced wrist lag, with the racquet head trailing well behind the hand before a sharp pronation through contact.
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10.1s |
Rafael Nadal's Forehand
John Yandell’s FH from the center of the court, filmed from a side CourtLevel angle. His footwork features a well-timed split step into a semi-open stance, with a strong pivot on the outside leg and a clear recovery step back toward the center baseline.
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7.1s |
The Two-Handed Backhand: The Hitting Stances
John Yandell’s neutral-stance groundstroke from the center of the court, filmed from a rear CourtLevel angle. His shoulders coil well past his hips on the unit turn, then uncoil in a clearly sequenced trunk rotation that leads the arm and racket into contact.
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9s |
Your Strokes: Eva So: Forehand (4 of 6)
Eva's forehand from the center of the baseline, filmed from a side court-level angle. Her semi-western grip is clear with the racket face closed on the takeback, and you can see pronounced wrist lag just before she accelerates forward to contact.
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7s |
Roger Federer versus Rafael Nadal: Round 3 (4 of 5)
John Yandell's neutral-court rally movement, filmed from a court-level baseline angle. His hips stay relatively low with a consistent knee bend, and his legs load and push diagonally so his outside hip clears as he recovers toward the center.
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11.2s |
Your Strokes: Two Handed Backhand Stances (4 of 7)
Novak Djokovic's two-handed backhand from a neutral baseline position, filmed from a side angle animation. His footwork clearly shows a compact adjustment step into a neutral stance, with the outside foot planting first before the front foot pivots to align his hips and shoulders into the shot.
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11.9s |
Off Court Visualizations (4 of 7)
John Yandell’s full-stroke sequence animation from a neutral off-court position, filmed from a composite side/3D analytical angle. The animation makes the progressive shoulder turn and trunk coil especially clear, with distinct frame-by-frame uncoiling that traces how the torso drives the stroke before the arm and racquet follow.
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65.9s |
The One-Handed Backhand: Stances
John Yandell’s forehand from the center of the court, filmed from a side CourtLevel angle. His open stance is clear as he plants the outside foot, then uses a small recovery step back toward the middle after contact.
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16.8s |
Your Strokes: Paulo Caneiro: Forehand (4 of 7)
Paulo Caneiro's forehand from a neutral position, filmed from a side court-level angle. His shoulders rotate well past perpendicular to the net on the unit turn, then the trunk uncoils ahead of the arm so the hitting shoulder lags slightly before whipping through contact.
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8s |
The Serve and Volley Mentality
John Yandell’s forehand from the center of the court, filmed from a side angle. His footwork uses a well-timed split-step into an open stance, with a clear weight transfer from the back leg to the front as he rotates into contact.
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21.9s |
Tour Strokes: Justine Henin Serve (4 of 7)
John Yandell’s serve from a central baseline position, filmed from a rear CourtLevel angle. His continental grip is evident in the way the racquet face stays edge-on through the trophy phase before a pronounced wrist pronation uncoils into the contact.
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9.3s |
Grip Structures in the Modern Forehand
John Yandell's forehand from the center of the court, filmed from a rear court-level angle. The contact point is well in front of his body with the racket face slightly closed and the racket head accelerating upward on a steep low-to-high path.
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5.3s |
Your Strokes: Will Campbell Forehand (4 of 5)
Will Campbell's forehand from the center of the court, filmed from a rear angle. His follow-through finishes high across his body while his non-hitting hand extends back for balance before he quickly returns to a neutral ready position.
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15.3s |
Your Strokes: Carl Sutherland: Slice Backhand (4 of 7)
Carl Sutherland's slice backhand from the deuce side, filmed from a rear court-level angle. His shoulders and trunk are strongly coiled early, then uncoil as a single unit with minimal independent shoulder rotation, giving the slice a compact, connected kinetic chain.
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4.3s |
The Pro Return: The One Handed Backhand Drive
John Yandell’s forehand pivot step movement sequence from the center of the court, filmed from a side CourtLevel angle. His semi-western grip is steady with clear wrist lag on the takeback and a controlled release of wrist flexion into contact.
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11.4s |
The Myth of Hitting Around the Ball
John Yandell's backhands from a neutral baseline position, filmed from a rear court-level angle. His two-handed grip structure is clear, with the non-dominant hand driving the racket and the dominant wrist staying laid back and stable through contact before releasing slightly into the finish.
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9.4s |
Three Lessons I Learned From Rafa in Miami--and You Can Too (4 of 18)
John Yandell’s neutral stance baseline posture, filmed from a side angle. His recovery sequence emphasizes an early shoulder turn with the non-hitting hand extended across the body, helping him settle into a balanced ready position with weight centered over the balls of his feet.
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4.5s |
Three Lessons I Learned From Rafa in Miami--and You Can Too
John Yandell’s neutral posture sequence at the baseline is filmed from a CourtLevel Side angle. His relaxed continental grip and relatively quiet wrist position emphasize minimal unnecessary wrist movement as he sets up and maintains his ready stance.
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4.5s |
Your Strokes: Bryan Yeager One Handed Backhand (4 of 10)
Flash's one-handed backhand from a neutral baseline position, filmed from a side angle. His closed stance is clear as his front foot steps diagonally forward into the court while his back foot stays anchored, creating strong shoulder turn before he drives through the ball.
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6.1s |
Your Strokes: Bob Farese: Forehand Volley (4 of 6)
Bob Farese's forehand volley from the net area, filmed from a side court-level angle. His shoulders stay relatively square with a compact forward trunk move, showing a short coil and quick uncoil through contact with minimal upper-body rotation.
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6.5s |
Federer's Serve Locations: 1st Serve Ad Court
John Yandell’s serve pronation animation from a central baseline position, filmed from a side CourtLevel angle. At contact the racket face is nearly vertical with pronounced forearm rotation, and the racket head accelerates upward and inward across the body immediately after impact.
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3.1s |
Your Strokes: Francis Tiafoe: Serve (4 of 7)
Francis Tiafoe's serve from a neutral position, filmed from an animation-style side angle. You can clearly see the wrist staying relaxed through the racket drop, with pronounced lag as the racquet head falls behind the hand before driving up to contact.
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10.3s |
Your Strokes: Kyle Doppelt Serve Contact Point (4 of 7)
Kyle’s serve from a central baseline position, filmed from an animated side view. His feet stay grounded in a stable platform stance as the racket drops, with minimal knee bend and no significant rear-leg drive into the court.
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3.7s |
Tour Strokes: Maria Sharapova Serve (4 of 5)
John Yandell's serve from a neutral stance position, filmed from a side angle. The contact sequence emphasizes the racket drop into a deep backscratch position followed by a steep upward swing path with the racket face slightly closed as it accelerates toward contact above his hitting shoulder.
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9.5s |
Your Strokes: "Modern" Club Play: Fully Open Stance (4 of 10)
Rafa's forehand from a fully open stance, filmed from a side animation angle. His shoulders load well past 90 degrees relative to the hips before the forward swing, then the trunk uncoils ahead of the arm to drive a clear kinetic chain sequence into contact.
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6.8s |
Measuring Speed and Spin in Your Game (4 of 4)
John Yandell’s forehand from a neutral position, filmed from an animated side-view angle. His hips and legs are shown driving up and across with clear knee flex and extension that link his leg push to the upward, spinning motion of the stroke.
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8.5s |
Your Strokes: Phil Picuri Forehand (4 of 7)
Roger Federer's forehand from a neutral baseline position, filmed from a side court-level angle. His follow-through finishes high with the racquet wrapping over his shoulder as his weight transfers fully onto his front foot and his non-hitting hand settles near his torso before he resets to ready position.
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7.6s |
The One Handed Topspin Backhand Part 1
John Yandell’s forehand from the Deuce side, filmed from a CourtLevel rear angle. His shoulders rotate well past 90 degrees on the unit turn, then uncoil ahead of the hips so the trunk leads the arm into contact.
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8.4s |
Your Strokes: Alex Mikhailov One-Handed Backhand (4 of 8)
Federer's one-handed backhand from a neutral baseline position, filmed from an animated side view. His hips stay closed to the net through the loading phase with a deep knee bend, then unwind in sync with a strong upward leg drive into contact.
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9.1s |
How Roger Federer Won the US Open (4 of 7)
John Yandell's forehand from the center of the court, filmed from a rear angle. The racket face is slightly closed at a contact point around waist height, with the racket head accelerating steeply upward along a modern windshield-wiper swing path.
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14.6s |
John Yandell: Your Strokes: Paul Goldstein's Serve (4 of 9)
Roddick’s serve from a central baseline position, filmed from a rear court-level angle. His footwork includes a rhythmic rocking motion into a pinpoint stance, with the back foot drawing up to the front foot before he drives up into the ball.
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25.1s |
Tour Strokes: Alexander Zverev Serve (4 of 6)
John Yandell’s serve from the center of the baseline, filmed from a rear court-level angle. His rhythmic footwork features a controlled rocker step into a pinpoint stance, with a clear knee bend and upward drive aligned along the baseline before landing slightly inside the court.
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12.5s |
Further Thoughts: The Serve (4 of 20)
John Yandell’s serve from a central baseline position, filmed from a rear court-level angle. At contact, the racket face is slightly angled to the right with a pronounced upward swing path, meeting the ball just above full extension to emphasize edge-leading acceleration into the hit.
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5.7s |
Your Strokes: "Shroud" Forehand (4 of 11)
Federer's forehand from a neutral baseline position, filmed from a side animation angle. His shoulders rotate well past 90 degrees relative to the hips on the unit turn, then the trunk uncoils ahead of the arm with a clear lag-and-release sequence through contact.
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5.6s |
Your Strokes: Danielle Dotzenrod: Forehand Evolution (4 of 7)
Danielle Dotzenrod's forehand from a neutral baseline position, filmed from a side animation angle. Her semi-western grip is clear as her wrist stays laid back through the forward swing before uncoiling into a subtle pronation at contact.
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4.5s |
Tour Strokes: Kei Nishikori Serve (4 of 7)
John Yandell’s serve rotation sequence from a neutral position, filmed from a side CourtLevel angle. His continental grip is stable while the wrist moves from a laid-back position into clear pronation through contact, emphasizing forearm rotation rather than extra wrist snap.
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10.4s |
Tour Strokes: My Take on Sabalenka's Serve (4 of 7)
John Yandell's serve from a neutral position, filmed from an animation-style composite angle. His follow-through emphasizes full torso and hip rotation with weight transferring forward into a balanced landing and quick recovery stance.
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5.8s |
Hand and Arm Rotation
John Yandell’s forehand from the center of the baseline, filmed from a rear court-level angle. His hips load in a closed position with a pronounced knee bend, then unwind with clear leg drive as he pushes up and into the shot.
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7.7s |
Tour Strokes: Andrei Rublev Serve (4 of 12)
John Yandell’s serve from a central baseline position, filmed from a rear court-level angle. His footwork features a pinpoint stance with the back foot drawing up to the front before an explosive leg drive into the court and a balanced landing inside the baseline.
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14.7s |
Why Rafa Crushed Roger at the French 2007 (4 of 11)
John Yandell's run-around forehand from the ad court, filmed from a rear court-level angle. The racket face is slightly closed at contact with the ball struck just in front of his lead hip, and the racket head accelerates steeply upward on a pronounced low-to-high swing path.
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3.6s |
Your Strokes: Sam Forehand (4 of 7)
Sam’s forehand from a central baseline position, filmed from a side angle. His left arm stretches forward during the forward swing and then tucks back into his torso as he finishes, helping him recover quickly into a balanced ready position.
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13.6s |
Your Strokes: Paul Goldstein: Serve Part 2 (4 of 8)
Paul Goldstein's second serve from a central baseline position, filmed from a rear court-level angle. His feet set in a platform stance with a clear front-foot pivot, and he executes small adjustment steps before the toss to sync his weight transfer into the court.
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5.7s |
The Myth of the Dog
John Yandell’s animation sequence of Serena Williams’ strokes, filmed from a composite multi-angle view. The shoulder and trunk rotation are broken into discrete frames, making the degree of shoulder turn and the timing of the uncoil in relation to hip and arm motion clearly distinguishable.
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6.1s |
The Magic Number One
John Yandell’s forehand and backhand stroke animations from a central court position, filmed from a mixed rear and side composite angle. His footwork patterns are broken into discrete frames, making it easy to see the exact timing of his split-step into an open or neutral stance and the subsequent recovery steps along the baseline.
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15.1s |
Andy Roddick's Two-Handed Backhand
John Yandell’s forehand from the center of the court, filmed from a rear angle. At contact his racket face is slightly closed with the ball struck just in front of his lead hip, and the upward windshield-wiper swing path is clear in the rapid acceleration of the racket head through the hitting zone.
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4.4s |
Roger Federer's Warm Up (4 of 7)
John Yandell's serve from a neutral court position, filmed from an animation-style composite angle. The sequence makes the degree of shoulder over-rotation and subsequent trunk uncoil especially clear, with distinct frame-by-frame separation between hip turn, shoulder turn, and racquet-arm acceleration.
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127s |
Roger's Revenge: Wimbledon 2007 (4 of 15)
John Yandell's point-play sequence from a central baseline position, filmed from a court-level rear angle. His follow-through smoothly transitions into a balanced recovery, with his non-hitting hand helping him square his shoulders as he resets into a ready position on the baseline.
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4.8s |
The Heavy Ball in Modern Pro Tennis (4 of 5)
John Yandell’s forehand from the middle of the court, filmed from a side CourtLevel angle. His shoulders coil well past 90 degrees relative to the hips, then uncoil in a clearly sequenced kinetic chain where the trunk rotation leads the arm and racquet into contact.
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5.9s |
The Forehand Return of Serve Part 2: Extreme Grips
John Yandell's forehand from the center of the baseline, filmed from a side animation angle. His shoulders rotate well past 90 degrees in the unit turn, then the trunk uncoils ahead of the arm so the torso leads the forward swing before the racquet accelerates through contact.
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7.2s |
The Modern Pro Slice: Part 2
John Yandell’s stance and movement sequence from the baseline, filmed from a side angle. His footwork pattern emphasizes a clear split-step into a semi-open stance, followed by small adjustment steps that align his hips and shoulders to the intended hitting zone.
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8.5s |
The Two-Handed Backhand: The Forward Swing
John Yandell's forehand from a neutral court position, filmed from a side CourtLevel angle. His semi-western grip is evident in the firm but relaxed wrist position, with clear wrist lag before contact and a pronounced forward release through the ball.
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3.6s |
The Omosis Clinic Report 2007 (4 of 5)
John Yandell's FH from the Deuce court, filmed from a CourtLevel rear angle. His shoulders turn well past 90 degrees relative to the baseline, creating a pronounced trunk coil that unwinds sequentially from hips to shoulders before the arm accelerates forward.
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12.1s |
Your Strokes: Olivier Lingband: Serve (4 of 7)
Olivier Lingband's serve toss sequence from a central baseline position, filmed from a side CourtLevel angle. His shoulders and trunk coil together as the tossing arm rises, with a clear separation created when the hitting-side shoulder and chest begin to rotate forward ahead of the hips.
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8.6s |
Roger Federer: Serve Part 2
John Yandell's serve from the sideline, filmed from the side. His tossing-side hip stays slightly forward with a deep front-knee bend that loads the back leg, creating an upward leg drive as the tossing arm reaches full extension.
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12.6s |
Your Strokes: Larry Landsman: Slice Backhand (4 of 18)
Trey's slice backhand from a central baseline position, filmed from a side CourtLevel angle. At contact the racket face is slightly open with the ball struck around waist height, and the racket head moves on a distinctly downward path through the ball.
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4.1s |
The Forehand Return of Serve Part 1: Compact Classical
John Yandell’s forehand from the center of the court, filmed from a side angle. His follow-through wraps across his body while his non-hitting hand stays back to aid torso rotation, and he quickly returns to a neutral ready position with weight settling on his front foot.
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5.2s |
Stan Wawrinka's Backhand (4 of 11)
John Yandell's one-handed backhand unit turn from a neutral position, filmed from a side angle. His shoulders rotate well past 90 degrees while the trunk coils as a single unit with the hitting arm, then uncoils in sequence from hips to shoulders to arm during the forward swing.
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8.3s |
John Yandell: Backhand Volley
John Yandell’s forehand unit turn from the center of the baseline, filmed from a side CourtLevel angle. His semi-western grip is clearly set early while the wrist stays laid back in a firm, extended position throughout the turn, creating a distinct lag before the forward swing begins.
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17.2s |
John Yandell: A New Teaching System Introduction (4 of 5)
John Yandell’s forehand animation variations from a central baseline position, filmed from a side and rear mixed analytical angle. The sequences make it easy to see how his hips load and then uncoil from a deep knee bend, with the legs driving up and around to different degrees depending on the specific forehand variation.
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12.7s |
Two Handed Backhand Stances in Women's Pro Tennis
John Yandell’s groundstrokes from a neutral baseline position, filmed from a side CourtLevel angle. His shoulders rotate well past 90 degrees relative to the hips on the unit turn, then the trunk uncoils in a clearly sequenced motion from pelvis to shoulders before contact.
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5.1s |
Your Strokes: Vin Miller: Serve (4 of 10)
Vin Miller's serve from a central baseline position, filmed from a side CourtLevel angle. His continental grip is clear with a firm but relaxed hand, and you can see pronounced wrist pronation through contact as the strings brush up and across the ball.
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8.8s |
The Stringbed and Pro Contact
John Yandell's forehand from a neutral position, filmed from a side CourtLevel angle. His shoulders coil well past 90 degrees relative to the baseline before contact, with a marked uncoiling of the trunk leading the arm and racquet through the hitting zone.
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3.2s |
Wimbledon Journal (4 of 8)
John Yandell's forehand from the middle of the baseline, filmed from a rear CourtLevel angle. The rear view makes his semi-western grip and the delayed uncoiling of the wrist with pronounced lag before contact clearly visible.
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16.1s |
Your Strokes: "Modern" Club Play: The Windshield Wiper (4 of 10)
A player's forehand windshield-wiper motion from a central baseline position, filmed from a side court-level angle. The feet stay in a mostly open stance with a small adjustment step into contact, and the player pivots aggressively off the back foot to let the hips and torso unwind through the swing.
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5.6s |
Tour Strokes: Andy Murray's Serve (4 of 6)
John Yandell’s forehand wrist action from the middle of the court, filmed from a side angle. His follow-through brings the racquet up and across while the non-hitting hand stays in front of his body, helping him recover quickly back toward a neutral ready position.
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4.5s |
Novak Djokovic's Forehand: The Full Turn and the Backswing
John Yandell’s forehand from a neutral baseline position, filmed from a side CourtLevel angle. The contact point is slightly in front of his lead hip with a closed racket face and a steep low-to-high swing path that accelerates the racket head sharply through the hitting zone.
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6s |
Your Strokes: Andy Plunkett: 1-Handed Backhand (4 of 8)
Andy Plunkett's 1-handed backhand from a neutral baseline position, filmed from a rear court-level angle. His footwork features a clear crossover step with his outside leg driving back and across before he settles into a closed stance to strike the ball.
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8.9s |
Your Strokes: Shooter McMarco: Backhand (4 of 7)
Shooter McMarco's backhand from a neutral baseline position, filmed from a side CourtLevel angle. His shoulders rotate well past 90 degrees relative to the net on the unit turn, then uncoil in sync with the trunk so the chest squares to the target just after contact.
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2.8s |
Your Strokes: Mike Widell Forehand (4 of 8)
Roger Federer's forehand from the center of the baseline, filmed from a side CourtLevel angle. His early unit turn is clear as he pivots the hips and shoulders together into a neutral stance before stepping forward into the shot.
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8.3s |
Understanding Andy Roddick's Serve Part 2
John Yandell's forehand from the center of the court, filmed from a rear CourtLevel angle. After contact his racquet wraps fully across his body while his non-hitting hand stays back for counterbalance, and he quickly recovers into a compact ready position with his weight settling on his front foot.
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8.7s |
The Extreme Closed Stance: The Pro One Handed Backhand
John Yandell’s forehand from the middle of the court, filmed from a side CourtLevel angle. His hips load by turning away from the net with a deep knee bend, then uncoil as the rear leg drives forward, clearly linking leg push-off to hip rotation.
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4.3s |
The Upward Swing: Federer's Serve in High Speed and High Def
John Yandell’s classical forehand from the baseline, filmed from a rear court-level angle. His hips load in a coiled position with a clear knee bend before uncoiling as the legs drive up and into the court.
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7.8s |
Forehand
John Yandell’s stroke animation is presented from a neutral court position, filmed from a composite analytical angle. His follow-through and recovery are broken into frame-by-frame segments, clearly showing how his weight transfers forward into a balanced ready position with the non-hitting hand resetting on the racquet.
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8.1s |
True Alignment: The One Handed Backhand
John Yandell’s forehand from a neutral court position, filmed from a court-level side angle. His semi-western grip is easy to see here, with the wrist laid back in pronounced lag on the forward swing and then pronating through contact.
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4.2s |
True Alignment: The One Handed Backhand
John Yandell’s animation sequence of multiple strokes from a central baseline position, filmed from a mixed CourtLevel and Rear angle. The shoulder and trunk rotation can be compared frame by frame, making it easy to see how his upper body coils early and then uncoils in sync with leg drive and hip rotation across different stroke types.
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13.7s |
True Alignment: The One Handed Backhand
John Yandell’s forehand from the center of the court, filmed from a side angle. His semi-western grip is clear as the wrist stays laid back through the forward swing before unhinging slightly at contact.
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8.1s |
True Alignment: The One Handed Backhand
John Yandell’s footwork and stance animation from a neutral baseline position, filmed from a side angle. His split-step, first move, and recovery steps are broken down frame by frame, making it easy to see how he shifts from a neutral stance into a hitting position and then back to ready.
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4.9s |
Tour Strokes: Mysteries of Medvedev's Forehand (5 of 83)
John Yandell’s forehand from a neutral baseline position, filmed from a side CourtLevel angle. The contact point is slightly in front of his lead hip with the racket face marginally closed and the racket head accelerating steeply upward along a modern windshield-wiper path.
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19.2s |
Technical Flaws in ProTwo Handers: Jack Sock (5 of 92)
John Yandell’s two-handed BH from a neutral baseline position, filmed from a side CourtLevel angle. His hips stay relatively closed at contact with limited hip rotation and a shallow knee bend, so the legs contribute less upward drive compared to most modern tour two-handers.
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20.8s |
Technical Flaws in Pro Two Handers: John Isner (5 of 83)
John Yandell's two-handed backhand from a neutral baseline position, filmed from a court-level rear angle. His hips stay relatively square to the net with limited hip and leg drive, and the knees show only a moderate bend at the loading phase.
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11.5s |
True Alignment: The One Handed Backhand
John Yandell’s forehand from the center of the court, filmed from a rear court-level angle. At contact his racket face is slightly closed with the ball struck around waist height, and the racket head accelerates steeply upward along a modern windshield-wiper swing path.
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9.4s |
True Alignment: The One Handed Backhand
John Yandell’s animation sequence of multiple strokes is presented from a composite side and rear camera angle. The frames clearly depict his emphasis on maintaining a laid-back wrist position into contact, then releasing into controlled pronation through the hit.
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40.3s |
True Alignment: The One Handed Backhand
John Yandell’s movement and stroke mechanics are shown from a side court position, filmed from a CourtLevel angle. His early, compact split step into a neutral stance transitions into small adjustment steps that keep his weight centered over the baseline as he moves into each shot.
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7.4s |
The Myth of the Magic Bullet
John Yandell’s groundstroke animation is presented from a composite side and rear court perspective. His recovery is illustrated by the weight transferring fully onto the front foot before he coils back to a neutral stance, with the non-hitting hand extending forward to help square the shoulders for the next shot.
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7.8s |
True Alignment: The One Handed Backhand
John Yandell’s stroke animation from a central court position, filmed from a side angle. The sequence makes it easy to see the progressive loading in his legs, with a deep knee bend leading into a clear hip uncoiling as he drives through the shot.
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13.8s |
Your Strokes: Bastiaan One Handed Backhand (5 of 92)
Bastiaan's one-handed backhand from a neutral baseline position, filmed from a side animation angle. The contact point is slightly in front of his lead hip with the racket face just marginally closed, and the racket head accelerates upward on a steep low-to-high path through contact.
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14.5s |
Your Strokes: Ryan Serve (5 of 74)
Ryan's serve from the center of the baseline, filmed from a side angle. His compact knee bend and upward leg drive are clearly visible, along with a stable landing on his front foot that sets up an immediate recovery step.
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23.5s |
Mysteries of the Heavy Ball:Speed and Spin in the Serves of Pete Sampras and Greg Rusedski (5 of 7)
John Yandell's first serve from the deuce side, filmed from a rear court-level angle. At contact his racket face is slightly tilted forward with the ball struck just above full arm extension, and the racket head accelerates steeply up and across the ball to impart heavy topspin-slice.
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11.3s |
Roger Federer's Serve
John Yandell’s forehand from the Deuce side, filmed from a CourtLevel rear angle. His follow-through finishes high over the opposite shoulder while his non-hitting hand retracts toward his torso, and he quickly recovers into a compact ready position with weight centered on the balls of his feet.
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11.2s |
Your Strokes: Danielle Dotzenrod Two-Handed Backhand
Animation of the hitting arms during a generic groundstroke, filmed from a neutral instructional angle. The legs are shown with a stable base and subtle knee flex, supporting hip alignment while the focus remains on upper-body arm mechanics.
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Your Srokes: Jeff Greenwald Serve (5 of 8)
Jeff Greenwald’s serve from a central baseline position, filmed from a rear court-level angle. His continental grip is evident in the way the racquet face stays edge-on through the trophy phase before his wrist pronates sharply into contact.
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4.4s |
How Roger Federer Won the US Open (5 of 7)
John Yandell’s strategic point construction from a neutral baseline position, filmed from a high rear angle. His continental grip on the serve and subsequent forehand transition keeps the wrist relatively relaxed with a late pronation that becomes clear just before and through contact.
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17.5s |
Your Strokes: Gavin Serve (5 of 65)
Gavin's serve from a central baseline position, filmed from a side angle. At contact his racket face is slightly tilted forward with the ball struck just above full arm extension, and the racket head accelerates steeply upward along the right side of his body.
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7.2s |
Your Strokes: Giancarlo Andreani: Two-Handed Backhand (5 of 7)
Giancarlo Andreani's two-handed backhand from a neutral baseline position, filmed from a side court-level angle. The racket face is slightly closed at contact with the ball struck around waist height in front of his body, and the racket head accelerates on a low-to-high path through the hitting zone.
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5.5s |
Grip Structures in the Modern Forehand
John Yandell's forehand from the Deuce court, filmed from a CourtLevel side angle. His shoulders and trunk form a pronounced coil with the hitting-side shoulder fully turned under the chin, then uncoil in sequence with the hips initiating rotation before the upper torso follows.
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9.7s |
Your Strokes: Allan Murphy Forehand (5 of 7)
Allan Murphy's forehand from a central baseline position, filmed from a rear court-level angle. His semi-western grip is clear, with pronounced wrist lag on the racquet drop and a vertical wrist-driven finish up the back of the ball.
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4.8s |
Andy Roddick's Two-Handed Backhand
John Yandell's two-handed backhand backswing from a neutral baseline position, filmed from a side CourtLevel angle. The video makes the early unit turn and the steep upward racket drop behind the body clear, with the strings tilted slightly closed just before the forward swing begins.
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9.5s |
The Myth of Lag and Snap
John Yandell’s forehand from a neutral baseline position, filmed from a side CourtLevel angle. His semi-western grip is clear, with pronounced wrist lag on the forward swing that releases into a controlled pronation through contact.
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5.9s |
Doing Your Own High Speed Video Analysis Simply and Inexpensively (5 of 6)
John Yandell’s composite stroke animations from multiple court positions, filmed from synchronized CourtLevel, Rear, Side, and Front angles. The trunk rotation and shoulder turn can be compared frame-by-frame across the angles, making it easy to see how the upper body coils on preparation and then uncoils in sequence into contact.
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5.8s |
Roger Federer: Serve Part 2
John Yandell’s forehand from the center of the baseline, filmed from a side CourtLevel angle. His follow-through wraps across his body with his non-hitting hand extending back for counterbalance before he recovers into a neutral ready position.
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6.4s |
Your Strokes: Arthur Gosnell: Serve (5 of 12)
Arthur Gosnell's serve from a central baseline position, filmed from a side CourtLevel angle. After contact, he drives his weight into the court with his hitting arm finishing across his body while his non-hitting arm drops for balance before he recovers to a ready stance.
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7.7s |
Don Budge's Forehand: Good Enough for You?
John Yandell’s animation sequence of ATP forehands and backhands from a neutral court position, filmed from a composite side and rear angle. The grips and wrist positions are clearly contrasted frame-by-frame, with distinct wrist lag into contact followed by controlled pronation and release on each modeled stroke.
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9.6s |
The Modern Pro Slice: Part 2
John Yandell's forehand backswing animation from a neutral baseline position, filmed from a side angle. His hips and legs move through a clear loading pattern, with noticeable knee flexion and hip coil into the rear leg before uncoiling forward into the shot.
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9.4s |
Your Strokes: Paul Goldstein: Serve Part 2 (5 of 8)
Paul Goldstein's serve from a central baseline position, filmed from a side CourtLevel angle. His continental grip is evident in the slightly angled racket face, and you can clearly see his wrist pronating through contact with a relaxed but firm grip pressure.
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5.7s |
Three Lessons I Learned From Rafa in Miami--and You Can Too (5 of 18)
John Yandell’s ball bounce animation from center court, filmed from a side angle. The sequence makes the vertical alignment of the shoulders and trunk over the bounce point clear, so you can see how the torso stays stacked and stable as the ball rises into the optimal contact zone.
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6.4s |
Three Lessons I Learned From Rafa in Miami--and You Can Too
John Yandell’s ball bounce animation from the center of the court, filmed from a side angle. The sequence makes it easy to see how the legs and hips would need to time their load and drive with the rising ball height for an optimal contact point.
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6.4s |
Tour Strokes: Dominic Thiem Second Serve (5 of 7)
John Yandell's serve ball toss from the baseline, filmed from a court-level rear angle. After release his tossing arm stays extended upward as his weight begins to shift forward, giving a clear view of how he sets up his body alignment and prepares to move into the hitting phase.
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19.8s |
Your Strokes: Barry Gaines Forehand (5 of 7)
Barry’s forehand from a central baseline position, filmed from a side CourtLevel angle. His unit turn is early with the outside foot planting first, creating a strong open stance before he uncoils into the ball.
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3.8s |
The Two-Handed Backhand: The Forward Swing
John Yandell’s forehand from the center of the court, filmed from a side CourtLevel angle. At contact, the racket face is slightly closed with the strings brushing up the back of the ball as the arm straightens from a bent position, emphasizing the forward extension of the racket through the hitting zone.
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3.5s |
Three Secrets for Destroying Pushers (5 of 16)
John Yandell’s point construction from a baseline rally, filmed from a rear court angle. His split-step precedes the opponent’s contact and he uses small adjustment steps into a neutral stance before recovering with a crossover back to the center.
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4.2s |
Your Strokes: Kyle Doppelt Serve (5 of 5)
Kyle Doppelt's serve from a central baseline position, filmed from a rear court-level angle. His shoulders rotate well past 90 degrees relative to the baseline, creating a pronounced trunk coil that uncoils sequentially from hips to shoulders just before racquet drop.
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5.1s |
The Omosis Clinic Report 2007 (5 of 5)
John Yandell's neutral FH from the center of the baseline, filmed from CourtLevel Side. His stance shifts from a neutral setup into a semi-open position as he uses small adjustment steps to load on the outside leg before rotating into the shot.
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5.6s |
Myths About Low to High on the Pro Forehand
John Yandell's forehand from a neutral position, filmed from a side animation angle. The animation makes the degree of shoulder turn and trunk coil very clear, with a pronounced uncoiling sequence where the hips initiate and the shoulders and arm lag slightly behind before contact.
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8.9s |
Your Strokes: Bryan Yeager One Handed Backhand (5 of 10)
Bryan Yeager's one-handed backhand recovery step from the baseline, filmed from a side CourtLevel angle. The racket stays on edge with a slightly closed face as it passes through contact at about waist height before he releases the non-dominant hand to prepare for the next step.
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6.9s |
Your Strokes: Chris Thurstone Forehand (5 of 12)
Chris Thurstone's forehand from a central baseline position, filmed from an animated side view. His footwork sequence clearly includes a small adjustment hop into a semi-open stance before he plants his outside foot and rotates through the shot.
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7.2s |
Stan Wawrinka's Backhand (7 of 11)
John Yandell's one-handed backhand in a closed stance from the baseline, filmed from a side angle. His hips stay more square to the sideline with a pronounced shoulder turn, while the back knee bends deeply to load before driving up through contact.
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8.3s |
Your Strokes: Sai Serve (5 of 9)
Sai’s serve from the center of the baseline, filmed from a side CourtLevel angle. At contact, the racket face is slightly tilted forward with the ball struck just above full extension of the tossing arm, emphasizing an upward swing path and pronounced racket head acceleration through the hit.
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4s |
Your Strokes: John Daly Serve Part 1 (5 of 7)
Server’s first serve from a central baseline position, filmed from a court-level rear angle. The hips load with a pronounced turn away from the court while the knees sink into a deep bend, then drive upward as the rear hip thrusts toward the net during contact.
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13.3s |
The Myth of the Dog
John Yandell's forehand from the center of the court, filmed from a side angle. The racket face is slightly closed at a contact point around waist height, with the racket head accelerating upward along a steep low-to-high swing path.
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5.3s |
John Yandell: Del Potro's Forehand Analyzed (5 of 14)
John Yandell’s forehand from a central baseline position, filmed from a rear angle. At contact his racket face is slightly closed with the ball struck around waist to mid-torso height, and the racket head accelerates steeply upward along a modern, windshield-wiper swing path.
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8.1s |
John Yandell: The One Handed Pro Backhand: Part 3
John Yandell’s movement drill along diagonal versus straight court paths, filmed from a side angle. His hips and legs alternate between angling diagonally and aligning straight ahead, with clear changes in knee flex and push-off direction as he transitions between the two movement patterns.
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11.3s |
Your Strokes: "Modern" Club Play: The Windshield Wiper
Djokovic's groundstrokes from center court, filmed from an animated side angle model. His footwork pattern includes a clear split step into small adjustment steps before setting a semi-open stance on most forehands and a more neutral stance on backhands.
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5.3s |
Your Strokes: "Modern" Club Play: The Windshield Wiper (5 of 10)
Djokovic model forehand animation from a central baseline position, filmed from a side CourtLevel angle. The shoulder line turns well past perpendicular to the net as the trunk coils, then uncoils with the chest rotating toward the target slightly ahead of the arm’s forward acceleration.
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5.3s |
Novak Djokovic's Forehand: The Full Turn and the Backswing
John Yandell's downward racket path animation from a neutral court position, filmed from a side angle. The sequence emphasizes the steeply closed racket face at contact and the sharply descending swing path through the ball.
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4.3s |
Tour Strokes: Jensen Brooksby Serve (5 of 5)
John Yandell’s serve from a CourtLevel center position, filmed from a Side angle. At contact, the racket face is slightly closed with the ball struck just above full extension, and the racket head accelerates rapidly upward and forward along a steep swing path.
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26.2s |
Your Strokes: Jonathan Ryle Serve (1 of 11)
Jonathan Ryle’s serve from a stationary front view, filmed from CourtLevel. His shoulder line clearly rotates away from the target during the toss, then the trunk uncoils aggressively upward and forward as the elbow straightens into contact.
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7.3s |
Why Rafa Crushed Roger at the French 2007 (5 of 11)
John Yandell's forehand from the center of the baseline, filmed from a rear court-level angle. His follow-through finishes high with the racquet over his shoulder while his non-hitting hand extends back for counterbalance before he recovers into a neutral ready position.
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5.5s |
The Forehand Followthrough: Extension and Rotation
John Yandell’s forehand from the center of the baseline, filmed from a side CourtLevel angle. His shoulders rotate well past perpendicular to the net on the unit turn, then uncoil ahead of the hips so the trunk leads the arm into contact.
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14.6s |
Your Strokes: Kevin Patrick: Forehand (5 of 8)
Kevin Patrick's forehand from the center of the court, filmed from a rear angle. At contact his racket face is slightly closed with the ball struck around waist height, and the racket head accelerates upward on a pronounced low-to-high swing path.
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7.8s |
John Yandell: A New Teaching System Introduction (5 of 5)
John Yandell’s forehand animation from a neutral baseline position, filmed from a side CourtLevel angle. The side view makes the extreme shoulder turn and pronounced trunk coil-to-uncoil sequence obvious, with the chest rotating well past 90 degrees before unwinding into contact.
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7.3s |
Your Strokes: Alan 1st and 2nd Serves
Federer's footwork movement pattern drill in a neutral court position, filmed from a court-level side angle. His recovery steps bring him quickly back to a balanced ready stance with both hands on the racquet in front of his body.
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18.3s |
Tour Strokes: Andrei Rublev Serve (5 of 12)
John Yandell's serve from the center of the baseline, filmed from a side CourtLevel angle. His follow-through carries his racket arm across his body while his back leg swings forward into the court, bringing him quickly into a balanced recovery position.
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25.7s |
Your Strokes: Alan 1st and 2nd Serves (5 of 8)
Federer's serve from the center of the baseline, filmed from a side angle. His weight drives forward into the court with a full pronation and relaxed hitting-arm release, finishing in a balanced stance that quickly transitions into a compact ready position.
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23s |
What is "True" in Tennis?
John Yandell’s head position during stroke preparation and contact, filmed from an animation-based composite angle. The animation makes it easy to see how his shoulders and trunk rotate under a relatively steady head, with the upper torso coil and uncoil occurring around a stable visual reference point.
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6.2s |
Hitting Stances in the Modern Forehand
John Yandell’s forehand from the baseline, filmed from a side CourtLevel angle. His shoulders and trunk are fully coiled with the hitting-side shoulder clearly turned under the chin, then uncoiling in sequence from the hips through the torso while one foot remains grounded to anchor the rotation.
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5.9s |
The One-Handed Backhand: Stances
John Yandell’s forehand preparation sequence from the center of the baseline, filmed from a side CourtLevel angle. The side view makes the early wrist lag and stable semi‑western grip position clear as the racquet sets on edge during the unit turn.
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9.5s |
Your Strokes: Alex Mikhailov One-Handed Backhand (5 of 8)
Federer's one-handed backhand from a neutral baseline position, filmed from an animation-style side angle. His hips stay closed through the loading phase with a deep knee bend, then drive upward and slightly forward as the rear leg extends into contact.
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5.6s |
Roger Federer versus Rafael Nadal: Round 3 (5 of 5)
John Yandell’s Federer-style forehand volley from the net, filmed from a court-level side angle. After contact his racquet finishes slightly in front with the non-hitting hand counterbalancing behind him, and he quickly brings both hands back toward the center line to reestablish a compact ready position.
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11.2s |
Novak Djokovic's Forehand: A New Synthesis
John Yandell's forehand finishes from the center of the court, filmed from a side angle. The footage makes it easy to see the racket face closing through contact with a low-to-high swing path that finishes well above shoulder height.
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10.4s |
Novak Djokovic's Forehand: The Unit Turn
John Yandell’s initial movement and footwork patterns are recorded from a dynamic instructional camera setup. His recovery steps clearly return him to a balanced, neutral stance with the non-hitting hand active for counterbalance as he readies for the next movement.
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15.7s |
Your Strokes: Gavin Rossdale Forehand (5 of 7)
Gavin Rossdale's forehand from a neutral position, filmed from an animation-style side angle. His hips load by turning away from the net while the knees stay flexed, then the legs drive up and forward to unwind the hips into contact.
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5s |
Your Strokes: Gayahtri Evani: Two Handed Backhand (5 of 6)
Gayathri Evani's two-handed backhand from a neutral position, filmed from an animated side view. Her hips and legs are clearly shown loading with deep knee bend and strong upward leg drive as she unwinds into contact.
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6.6s |
The Pro Slice and Your Slice
John Yandell’s groundstroke from the center of the court, filmed from a graphic animation side angle. His hips clearly coil against a deep knee bend before uncoiling into strong leg drive upward and forward through contact.
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4s |
John Yandell: The Easter Bowl 2007 (6 of 8)
John Yandell’s forehand grip animation from center court, filmed from a side angle. His stance transitions through neutral to semi-open as he adjusts his feet, with a clear mini-split and weight shift visible between each grip position change.
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5.3s |
The Pro Return: The One Handed Backhand Drive
John Yandell’s forehand groundstroke from a central baseline position, filmed from a side CourtLevel angle. His follow-through finishes high across his body with the non-hitting hand stretching back for counterbalance before he recovers into a compact ready position.
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8.4s |
Modern Tennis: Where Are We Now? The Forehand Part 2
John Yandell’s forehand animation from a central baseline position, filmed from a side CourtLevel angle. The sequence clearly depicts the timing of his shoulder turn and trunk uncoil in relation to hand height, with the torso rotation lagging slightly behind the initial shoulder coil before releasing into contact.
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4.5s |
Grip Structures in the Modern Forehand Part 2
John Yandell’s forehand from a neutral position, filmed from a side court-level angle. At contact the racket face is slightly closed with the strings brushing up the back of the ball, and you can clearly see the forearm and hand pronating through impact to accelerate the racket head.
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6.9s |
Your Strokes: Jelena Jankovic: Serve (5 of 5)
Justine Henin's serve from a neutral position, filmed from a side animation angle. Her continental grip is clear with a relaxed hand, and you can see distinct wrist pronation driving the racquet head through contact.
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2.1s |
The One Handed Topspin Backhand Part 1
John Yandell’s serve from the Deuce side, filmed from a CourtLevel rear angle. His shoulder line turns well past perpendicular to the baseline, with a pronounced trunk coil that uncoils sequentially from hips to shoulders into the hitting arm.
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9.2s |
The Backhand Volley: Variations
John Yandell's high flat serve from a central position, filmed from a rear court-level angle. After contact he drives his hitting arm fully down across his body while his back leg swings forward, helping him land inside the court and quickly regain a balanced ready position.
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15.2s |
Your Strokes: Param Srinivas: Straight Arm Forehand (6 of 10)
Param Srinivas's straight-arm forehand from the center of the baseline, filmed from a side angle. His footwork features a small adjustment hop into a semi-open stance, with the rear leg driving rotation and a clear recovery step back toward the ready position after contact.
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7.8s |
Tour Strokes: Alexander Zverev Serve (5 of 6)
John Yandell’s serve from the deuce side, filmed from a rear court-level angle. His follow-through finishes across his body with his weight landing on the front foot, and he quickly brings both hands back toward a compact ready position to recover.
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21.3s |
Your Strokes: Jacky Duchamp Forehand (5 of 9)
Jacky Duchamp's forehand from a neutral position, filmed from a side angle. Her hips unwind from a strong coil as the legs drive up from a deep knee bend into a full, balanced finish.
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2.5s |
Mysteries of the Heavy Ball:Practical Serving Implications (5 of 10)
John Yandell’s serve from the deuce side, filmed from a rear court-level angle. His hips load deeply with a pronounced knee bend before driving upward, and you can clearly see the rear leg pushing off to initiate hip rotation into the court.
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4.8s |
Tour Strokes: Justine Henin Serve (5 of 7)
John Yandell’s serve from a neutral position, filmed from an animation-style side angle. At contact the racket face is slightly closed with the ball just above his fully extended reach, and the racket head whips up and across the ball on a steep, upward swing path.
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10.6s |
Your Strokes: Bob Farese: Forehand Volley (5 of 6)
Bob Farese's forehand volley from the net, filmed from a side court-level angle. At contact his racket face is slightly open with the ball meeting the strings just in front of his lead shoulder, and the compact swing path keeps the racket head moving mostly forward with minimal backswing.
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4.3s |
Two "Modern" Forehands
John Yandell's forehand from the baseline, filmed from a side CourtLevel angle. The high-speed view makes it clear that his racket face is slightly closed at a contact point just in front of his lead hip, with the racket head accelerating steeply upward along the swing path.
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4.1s |
Measuring Change: Radar Technology in Teaching
John Yandell's forehand from the center of the baseline, filmed from a side CourtLevel angle. His shoulders rotate significantly past 90 degrees relative to the net during the unit turn, then the trunk uncoils ahead of the arm, with the hitting shoulder lagging and then accelerating through contact.
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7.2s |
Measuring Change: Radar Technology in Teaching (5 of 10)
John Yandell's forehand from a neutral court position, filmed from a side angle. His hips load with a pronounced coil against a deep knee bend, then uncoil as the legs drive upward and forward to initiate the forward swing.
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7.2s |
Your Strokes: John Daly: Serve Part 2 (5 of 13)
Krajicek's serve from a central baseline position, filmed from a rear court-level angle. His shoulders turn well past 90 degrees relative to the net as his trunk coils against the hips, then uncoils in a clear sequence from legs to torso to shoulder during the upward swing.
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3.9s |
Your Strokes: Larry Landsman: Slice Backhand (5 of 18)
Larry’s slice backhand from the center of the baseline, filmed from a side court-level angle. His follow-through finishes with the racquet hand extended forward while his weight transfers onto the front foot, bringing him smoothly back toward a ready position.
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9.5s |
John Yandell: Classical Tennis and Modern Tennis
John Yandell’s forehand from the middle of the court, filmed from an animated side-view angle based on high-speed footage. The contact point is clearly in front of his body with a slightly closed racket face and a steep upward swing path accelerating through the ball.
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6.7s |
The Forehand Return of Serve Part 1: Compact Classical
John Yandell’s left-arm and torso coordination sequence in a forehand preparation phase, filmed from a side animation angle. The animation makes clear how his non-dominant hand stays on the racquet longer while the hitting wrist remains relaxed and lagged, setting up a laid-back position before forward acceleration.
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7.5s |
Wimbledon Journal (5 of 8)
John Yandell’s movement and stance animations on an abstract court, filmed from a side/composite instructional angle. His split-step timing and subsequent adjustment steps are broken down frame-by-frame, making the transition from ready position into an open or neutral stance especially clear.
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18.1s |
John Yandell: Forehand Volley
John Yandell’s forehand from the center of the court, filmed from a side CourtLevel angle. At contact, his racket face is nearly square to the ball with the contact point slightly in front of his lead hip and the racket head accelerating upward on a steep low-to-high path.
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4.8s |
Tour Strokes: Maria Sharapova Serve (5 of 5)
John Yandell’s Maria Sharapova serve animation from a neutral position, filmed from a side composite angle. The sequence makes the degree of shoulder over-rotation and the timing of the trunk uncoil into contact very clear, with the shoulders staying closed well into the racquet drop before the torso unwinds aggressively upward.
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13.6s |
The Forehand Volley Variations
John Yandell's forehand from the center of the court, filmed from a side CourtLevel angle. After contact his follow-through wraps across his body while his weight moves onto his front foot, and he quickly returns his racquet to a neutral ready position in front of his torso.
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13.9s |
Your Strokes: Mike Widell Forehand (5 of 8)
Mike Widell's forehand from the center of the baseline, filmed from a side CourtLevel angle. His follow-through finishes high across his body while his non-hitting hand stays back for counterbalance before he recovers into a neutral ready position.
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15.1s |
Technical Flaws in ProTwo Handers: Milos Raonic (5 of 8)
John Yandell’s two-handed backhand from a neutral baseline position, filmed from a side court-level angle. His hips stay relatively closed through contact while his knees remain moderately flexed, limiting upward leg drive compared to a more aggressive modern backhand.
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9.3s |
Your Strokes: Norman Ashbrooke Serve (5 of 10)
Norman Ashbrooke's serve from a central baseline position, filmed from a rear court-level angle. His follow-through finishes with the racket dropping on his non-dominant side as he lands slightly inside the court and quickly brings both hands back toward a ready position.
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4.4s |
Your Strokes: Evan Chiang Serve (5 of 20)
Evan Chiang's serve from a central baseline position, filmed from an animated 3D model side angle. The animation clearly depicts a full shoulder turn with the trunk coiling away from the target, then uncoiling in sequence from hips to shoulders to arm through contact.
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3.8s |
The Stringbed and Pro Contact
John Yandell’s forehand from a neutral baseline position, filmed from a rear court-level angle. His semi‑western grip and laid‑back wrist create a pronounced lag, with the racket head trailing clearly behind the hand through the forward swing.
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6.4s |
Tennisplayer Approaches 20! (5 of 13)
John Yandell’s forehand from the center of the court, filmed from a rear angle. His shoulders turn well past 90 degrees relative to the baseline, creating a deep trunk coil that unwinds in sequence from hips to shoulders to arm through contact.
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8.6s |
Your Strokes: Ryan Dickerson: Forehand (5 of 13)
Nadal's forehand from the middle of the baseline, filmed from a rear angle. His shoulders coil well past 90 degrees relative to his hips on the unit turn, then the trunk uncoils ahead of the arm swing, creating a clear kinetic chain from legs through torso to the racket.
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11.7s |
The Dangers of Strong Emotion
John Yandell’s forehand from a neutral baseline position, filmed from a side CourtLevel angle. His timing on the split step into a semi-open stance is clear, with a small adjustment hop and a forward step into contact before a quick crossover recovery toward the center.
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10.5s |
The Dangers of Strong Emotion
John Yandell’s forehand from the center of the court, filmed from an animation-style side angle. His hips visibly lead the forward swing as his knees stay flexed through the loading phase, then extend aggressively into the court to drive his weight through the shot.
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4.6s |
The Dangers of Strong Emotion
John Yandell’s forehand from a neutral court position, filmed from a side angle. His shoulders turn well past 90 degrees relative to the baseline, creating a pronounced trunk coil that then uncoils sequentially from hips to shoulders into contact.
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22s |
Your Strokes: TLM's Extreme Grip Forehand (5 of 16)
Nadal's forehand footwork animation from the baseline, filmed from a side angle. His extreme semi-western grip is clear in the way his wrist stays laid back deep into the forward swing before uncoiling through contact.
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9.8s |
The Two-Handed Backhand: Preparation and Backswing
John Yandell's forehand unit turn from the baseline, filmed from a side CourtLevel angle. His early shoulder turn creates a pronounced trunk coil, with the hips lagging slightly behind the shoulders before uncoiling in sequence into contact.
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7.4s |
Rafael Nadal's Forehand
John Yandell’s forehand unit turn from the baseline, filmed from a side CourtLevel angle. His hips and legs clearly load with a deep knee bend and strong hip coil, showing how the rear leg drives the rotation before the forward step into the ball.
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10s |
Roger's Revenge: Wimbledon 2007 (5 of 15)
John Yandell's forehand volley from the forecourt, filmed from a side CourtLevel angle. His continental grip is clearly visible, with a firm but relaxed hand and minimal wrist snap, keeping the wrist laid back through contact for a stable volley face.
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8.5s |
Your Strokes: Eva So: Forehand (5 of 6)
Eva So's forehand from a neutral position, filmed from a side court-level angle. Her shoulders rotate well past perpendicular to the net in the unit turn, then the trunk uncoils ahead of the arm to initiate forward racket acceleration.
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3.5s |
Your Strokes: Rohan Gupta Forehand (5 of 19)
Novak Djokovic's forehand from a neutral baseline position, filmed from a side animation angle. His hips load with a pronounced coil as his knees flex deeply, then uncoil with strong leg drive into contact.
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5.4s |
Your Strokes: Rohan Gupta Forehand
John Yandell’s forehand from the middle of the court, filmed from a side CourtLevel angle. After contact he extends his racquet fully toward the target with his non-hitting hand counterbalancing behind him, then quickly regroups his feet into a neutral ready position for the next shot.
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9.3s |
Your Strokes: Sam Forehand (5 of 7)
Novak's forehand from the center of the court, filmed from a side angle. His hips stay closed as he loads with a deep knee bend, then drive forward with clear hip rotation leading the swing.
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15.4s |
Andy Murray and the Open Stance Forehand
John Yandell’s forehand unit turn from the center of the baseline, filmed from a side CourtLevel angle. His hips and legs load with a pronounced knee bend and coiling of the rear hip, clearly showing how the legs initiate the rotational drive into the stroke.
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6.1s |
The Two-Handed Backhand: The Hitting Stances
John Yandell's forehand from a neutral court position in an open stance, filmed from a side angle. His hips stay relatively open to the net as his knees load deeply, with a noticeable upward leg drive initiating the forward swing.
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12.2s |
Your Strokes: Paulo Caneiro: Forehand (5 of 7)
Paulo Caneiro's forehand from the center of the baseline, filmed from a rear court-level angle. At contact his racket face is slightly closed with the ball struck around waist height, and the racket head accelerates steeply upward along a low-to-high swing path.
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6.7s |
Three Keys to the Kick Serve
John Yandell’s animation of Pete Sampras’s serve from a rear view, filmed from a high-speed analytical angle. The racket face can be seen closing slightly as it accelerates up to a high contact point well above the head, with the strings angled for heavy topspin-slice.
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4.7s |
Three Keys to the Kick Serve
John Yandell’s forehand and backhand animations from a central baseline position, filmed from a simulated side and rear hybrid angle. His split-step into a neutral stance is followed by clearly segmented loading, rotation, and recovery footwork sequences that make each adjustment step and weight transfer easy to distinguish.
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4.7s |
Three Keys to the Kick Serve
John Yandell’s forehand from the center of the court, filmed from a side CourtLevel angle. At contact his racket face is slightly closed with the ball struck around waist height, and the racket head accelerates steeply upward along the swing path for heavy topspin.
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4.7s |
The Heavy Ball in Modern Pro Tennis (5 of 5)
John Yandell’s forehand from a central baseline position, filmed from a rear CourtLevel angle. At contact, his racket face is slightly closed with the ball struck around waist height, and the racket head accelerates steeply upward along the swing path to impart heavy topspin.
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3.8s |
Pete Sampras: New Filming Protocols, Classic Motions
John Yandell’s serve from a central baseline position, filmed from a side CourtLevel angle. At contact, his racket face is slightly tilted forward with the ball struck just above full arm extension, and the racket head whips upward along a steep, pronation-driven path.
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8.4s |
Your Strokes: Olivier Lingband: Serve (5 of 7)
Pete’s serve toss from the center of the baseline, filmed from a side angle. His feet stay grounded in a platform stance as he bends his knees and shifts weight from back to front foot in sync with the upward motion of the tossing arm.
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12.7s |
Your Strokes: Phil Picuri Forehand (5 of 7)
Phil Picuri's forehand from a central baseline position, filmed from an animated side-on angle at ball bounce. His hips and knees visibly load into a deep flexion just before the bounce, then transition into forward hip drive as the legs extend into contact.
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2.1s |
John Yandell: Your Strokes: Paul Goldstein's Serve (5 of 9)
Philippoussis's serve from the deuce court, filmed from a rear court-level angle. His follow-through carries his racket hand down across his body while his weight lands on his front foot, and he quickly brings both hands back toward a neutral ready position.
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13.3s |
Your Strokes: Phil Picuri Serve (5 of 8)
Phil Picuri's serve from a central baseline position, filmed from a rear court-level angle. His hip turn is clearly visible as his back hip loads deeply with a pronounced knee bend before uncoiling upward through leg drive into the hit.
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5s |
Mental Imagery: Synthesizing the Physical and Mental Games (5 of 10)
John Yandell’s demonstration sequence from the center of the court, filmed from a CourtLevel angle. His footwork pattern emphasizes a clear split step into small adjustment steps, finishing in a stable neutral stance that visually anchors the mental imagery concepts being taught.
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5.8s |
Roger Federer Serve Locations: Deuce Court
John Yandell’s forehand from a central baseline position, filmed from a side CourtLevel angle. His shoulders rotate well past 90 degrees on the unit turn, then the trunk uncoils ahead of the arm, with the chest clearly opening toward the net before contact.
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13.1s |
Serving Mystery: Hit Up Or Hit Down? (5 of 66)
John Yandell’s serve from the center of the baseline, filmed from a rear court-level angle. His follow-through carries his racquet hand down across his body while his non-hitting hand drops and he quickly regains a balanced, neutral ready position after landing.
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8.9s |
The Serve and Swinging Volley: Next Revolution? (5 of 30)
John Yandell’s serve from a central baseline position, filmed from a rear court-level angle. His shoulders rotate well past 90 degrees relative to the baseline, creating a pronounced trunk coil that then uncoils sequentially from hips to shoulders into the hitting arm.
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6.6s |
The Serve and Swinging Volley: Next Revolution?
John Yandell’s forehand from the middle of the court, filmed from a side angle. His semi-western grip is easy to see as his wrist stays laid back through the forward swing before releasing slightly into contact.
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6.6s |
Roger Federer's Warm Up (5 of 7)
John Yandell's return from a central return position, filmed from a court-level angle. His compact split step into a neutral stance is followed by a short adjustment step into the ball and a quick recovery step back toward the center.
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31s |
The Wimbledon Final 2008: A Different Story? (5 of 22)
John Yandell's return from a neutral returning position, filmed from a court-level side angle. His continental grip is clearly visible, with a relaxed wrist that stays laid back through the unit turn before a compact, late wrist release into contact.
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9.2s |
Further Thoughts: The Serve (5 of 20)
John Yandell’s serve from a central baseline teaching position, filmed from a side CourtLevel angle. His continental grip is clearly visible with a loose hand that enables pronounced wrist pronation through contact, followed by a distinct relaxed wrist snap in the follow-through.
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8.1s |
John Yandell: Backhand Volley
John Yandell's forehand from the center of the court, filmed from a side angle. His hitting arm extends fully through contact with the hand finishing high, while his weight moves forward into the court before he recovers toward a neutral ready position.
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8.7s |
The Two-Handed Backhand: The 4 Variations
John Yandell’s groundstroke from the center of the court, filmed from a side CourtLevel angle. His stance transitions from a neutral setup into an open position as he loads on the outside leg, with a clear adjustment step taken just before contact.
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9.4s |
Ritualizing Your Game (5 of 5)
John Yandell’s animation of the shot stage is presented from a neutral, instructional camera angle. The sequence makes the early shoulder turn and progressive trunk coil/uncoil very clear, with the upper body rotating as a single unit before the hips begin to lead the forward swing.
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10s |
Your Strokes: Francis Tiafoe: Serve (5 of 7)
Francis Tiafoe's serve from a neutral position, filmed from an animation-based instructional angle. His follow-through finishes with the hitting shoulder dropping and the non-hitting arm tucking to his side, helping his torso uncoil fully before he returns to a balanced ready stance.
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17.5s |
Your Strokes: "Shroud" Forehand (5 of 11)
Player's forehand from a central open-stance position, filmed from an animation-style side angle. The grip is a semi-western with a pronounced wrist lag on the takeback that unwinds into a strong wrist pronation through contact.
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6.2s |
Do Hitting Arm Positions Really Matter?
John Yandell’s serve from a central baseline position, filmed from a side CourtLevel angle. His footwork includes a clear pinpoint stance with the back foot drawing up to the front before leg drive, and a controlled landing on the front foot that sets up an efficient recovery step.
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9.9s |
Forehand
John Yandell’s serve from a central baseline position, filmed from a rear court-level angle. His continental grip is clearly visible on the handle, and you can see the pronounced wrist pronation as the racket edge leads up to contact and then turns outward through the hit.
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9.9s |
Do Hitting Arms Matter? The Two Handed Backhand
John Yandell’s forehand from the center of the court, filmed from a side angle. His footwork includes a small adjustment hop into an open stance before contact, followed by a clear pivot and recovery step that returns him toward a neutral ready position.
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6.8s |
The Forehand Return of Serve Part 2: Extreme Grips
John Yandell’s forehand topspin animation from a central baseline position, filmed from a side court-level angle. His semi-western grip is clear as his wrist stays laid back through the forward swing, with a pronounced upward windshield-wiper forearm and wrist pronation after contact.
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7.4s |
The Extreme Closed Stance: The Pro One Handed Backhand
John Yandell’s forehand from the middle of the court, filmed from a side angle. His semi-western grip is clearly visible with a pronounced wrist lag in the forward swing that unwinds into a firm, stable wrist at contact.
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9.8s |
Your Strokes: Ryan Dickerson: Two-Handed Backhand (5 of 5)
Ryan Dickerson's two-handed backhand from a neutral baseline position, filmed from a side court-level angle. His stance shifts clearly between open, semi-open, and neutral as he adjusts his feet with small adjustment steps before planting for each swing.
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14.9s |
Tour Strokes: My Take on Leylah Fernandez's Forehand (5 of 8)
John Yandell’s forehand stance variations from the center of the baseline, filmed from a side court-level angle. His semi‑western grip is consistent while his wrist lag and angle at contact adjust subtly between neutral, semi‑open, and open stances.
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17.9s |
John Yandell: Sampras Serve: Hip and Shoulder Rotation
John Yandell’s FH animation sequence from a central baseline position, filmed from a side CourtLevel angle. His recovery is evident as his weight transfers fully onto his front foot through contact and then back toward a neutral stance, with the racquet finishing high before he returns both hands to the ready position.
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3.5s |
Your Strokes: Danielle Dotzenrod Forehand (5 of 9)
Danielle Dotzenrod's forehand from the middle of the court, filmed from a side CourtLevel angle. Her straight hitting arm is clearly visible as her shoulders turn well past 90 degrees relative to the net, with the trunk uncoiling ahead of the arm to drive the forward swing.
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4.2s |
Your Strokes: Ted Gregory: One Handed Backhand (5 of 8)
Ted Gregory's one-handed backhand from a neutral baseline position, filmed from a side CourtLevel angle. His shoulders rotate well past perpendicular to the net on the unit turn, then the trunk uncoils sequentially from hips to shoulders just before contact.
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5s |
Your Strokes: Kyle LaCroix Forehand (5 of 5)
Kyle LaCroix's forehand from a central baseline position, filmed from a side CourtLevel angle. His hips load by turning away from the net while the knees flex deeply, then the legs drive upward and forward to unwind the hips into contact.
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5.7s |
Tour Strokes: Andy Murray's Serve (5 of 6)
John Yandell’s serve toss animation from the center of the baseline, filmed from a side CourtLevel angle. The sequence makes it easy to see the tossing arm extend fully upward with the ball released just above eye level and the racket hand staying low and relaxed, creating a clear timing gap before the racket accelerates into the trophy position.
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6.4s |
Tomas Berdych's Forehand (5 of 16)
John Yandell's forehand from a neutral position, filmed from a side animation angle. The animation isolates his shoulder turn and trunk coil, making the timing of his upper body uncoil into contact and through the follow-through clearly visible frame by frame.
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4.9s |
Your Strokes: "Modern" Club Play: Fully Open Stance (5 of 10)
Anonymous player's forehand from a fully open stance in a neutral baseline position, filmed from a side CourtLevel angle. The contact is made slightly in front of the lead hip with the racket face moderately closed, and the racket head accelerates upward on a steep low-to-high path.
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3.5s |
Your Strokes: Tyler Zink Serve (5 of 11)
Tyler Zink's serve from the center of the baseline, filmed from a side CourtLevel angle. His shoulders rotate well past 90 degrees relative to his hips in the trophy position, then the trunk uncoils in a clear sequence from pelvis to shoulders just before the arm whips up to contact.
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6.9s |
Your Strokes: Sumner Chase Two-Handed Backhand (5 of 8)
Sumner Chase's two-handed backhand unit turn from the center of the baseline, filmed from a side CourtLevel angle. The side view makes it easy to see his semi-closed grip setup and how his wrists stay relaxed with noticeable lag before firming up just prior to contact.
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3s |
The One Handed Topspin Backhand Part 2
John Yandell’s forehand unit turn from the center of the baseline, filmed from a side CourtLevel angle. His shoulders and trunk rotate together into a deep coil, then uncoil in sequence with the hips initiating the forward turn before the upper body follows.
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19s |
Serena's Serve and Venus's Two-Hander (5 of 7)
John Yandell's two-handed backhand preparation animation from the center of the baseline, filmed from a side CourtLevel angle. The sequence makes it easy to see the racket face staying slightly closed during the unit turn and the hands rising to about chest height before the forward swing begins.
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5.5s |
Two Handed Backhand Stances in Women's Pro Tennis
John Yandell’s full-body stroke rotation sequence from a central baseline position, filmed from a side court-level angle. His footwork pattern emphasizes a well-timed split step into a loaded semi-open stance, with the rear hip and shoulder clearly rotating through before a balanced recovery step back toward the ready position.
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4.8s |
Your Strokes: Vin Miller: Serve (5 of 10)
Vin Miller's serve from a central baseline position, filmed from a rear CourtLevel angle. After contact he lands on his front foot with his torso leaning slightly into the court, and his non-hitting arm drops naturally as he brings the racquet down and begins to square his shoulders into a ready position.
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11.2s |
The Meaning of Hamburg for Roger and Rafa (5 of 5)
John Yandell playing a full point from a neutral baseline position, filmed from a rear CourtLevel angle. His recovery steps bring him quickly back behind the baseline with the racket returning to a compact ready position in front of his body after each follow-through.
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18.6s |
Your Strokes: Todd Haydon Serve (5 of 13)
Wawrinka's serve from a central baseline position, filmed from a rear court-level angle. His follow-through carries his racquet arm across his body while his back leg swings forward, bringing him into a balanced, ready stance for the next shot.
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6.1s |
Federer's Serve Locations: 1st Serve Ad Court
John Yandell's wide serve from a central position, filmed from an animated side/rear angle. His hips load deeply with a pronounced knee bend, then drive upward as the back hip rotates toward the court, clearly linking leg thrust to trunk rotation.
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9.2s |
Your Strokes: Kyle Doppelt Serve Contact Point (5 of 7)
Kyle Doppelt’s serve from a central baseline position, filmed from a side animation angle. The racket face is slightly closed at contact with the ball struck just above head height, and the racket head accelerates steeply upward along the swing path.
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2.3s |
Your Strokes: Danielle Dotzenrod: Forehand Evolution (5 of 7)
Danielle Dotzenrod's forehand from the middle of the court, filmed from a side angle. Her follow-through wraps across her body with the non-hitting hand counterbalancing behind her as she recovers back to a neutral ready position.
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9.2s |
One Handed Backhand Part 4: The Forward Swing
John Yandell’s forehand from the center of the baseline, filmed from a rear court-level angle. At contact, the racket face is slightly closed with the ball struck around waist height, and the racket head accelerates steeply upward along a low-to-high path.
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7.9s |
Tour Strokes: Kei Nishikori Serve (5 of 7)
John Yandell’s forehand from the middle of the court, filmed from a side angle. His hips stay relatively closed through the loading phase while his knees are deeply flexed, then his legs drive upward as the hips unwind into contact.
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7.1s |
Your Strokes: Andy Plunkett: 1-Handed Backhand (5 of 8)
Andy Plunkett's one-handed backhand from a neutral baseline position, filmed from a rear court-level angle. His eastern backhand grip stays firm through the swing while the wrist remains laid back early and then pronates slightly through contact.
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5.7s |
Your Strokes: Shooter McMarco: Backhand (5 of 7)
Haas's backhand from the center of the baseline, filmed from a rear angle. His hips stay relatively closed through the loading phase with a pronounced knee bend, then uncoil as his legs drive upward into the shot.
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16.1s |
Understanding Andy Roddick's Serve Part 2
John Yandell's forehand from the center of the court, filmed from a rear court-level angle. His stance shifts from a semi-open loading position into contact with a clear weight transfer onto the front foot and a small recovery step that starts as the racquet finishes across his body.
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11.1s |
Your Strokes: Will Campbell Forehand (5 of 5)
Will Campbell's forehand from the middle of the court, filmed from a rear angle. At contact his racket face is slightly closed with the ball struck around waist height, and the racket head accelerates steeply upward along a low-to-high swing path.
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5.9s |
The Upward Swing: Federer's Serve in High Speed and High Def
John Yandell's external shoulder rotation drill from the center of the court, filmed from a side angle. The side view makes the degree of shoulder external rotation and timing of trunk uncoil relative to the hitting arm easy to distinguish frame by frame.
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5.5s |
The Athletic Foundation
John Yandell’s stroke animation from a central court position, filmed from a side angle. The contact sequence displays the racket face progressing from slightly closed before impact to more neutral at contact, with the racket head accelerating upward on a steep, clearly visible swing path.
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8.7s |
The Athletic Foundation
John Yandell’s movement and stroke mechanics are shown from a side baseline view, filmed from a CourtLevel angle. His compact split step into a semi-open stance is followed by small adjustment steps that position his outside leg to load before he rotates into the shot.
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14.9s |
Forehand
John Yandell’s forehand from a neutral position, filmed from a side animation angle. His semi-western grip is evident in the closed racket face at the start, with a pronounced wrist lag that unwinds into a clear pronation through contact.
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5.9s |
Your Strokes: Rohan Gupta Forehand (6 of 19)
Rohan Gupta's forehand from the center of the baseline, filmed from a side angle. His footwork features a small adjustment hop into a neutral stance followed by a clear weight transfer from the back to the front foot as he swings.
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4.5s |
Your Strokes: Bastiaan One Handed Backhand (6 of 92)
Bastiaan's one-handed backhand from a neutral baseline position, filmed from a side animation angle. His follow-through finishes high with the hitting arm extended while his weight transfers onto the front foot, bringing him smoothly back into a balanced ready position.
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4.7s |
The Athletic Foundation
John Yandell’s groundstroke animation is presented from a composite, side-on court-level angle. His follow-through clearly carries his racquet up and across his body while his weight transfers forward into a balanced recovery stance with the non-hitting hand counterbalancing.
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10.9s |
The Athletic Foundation
John Yandell’s stroke animation from a central court position, filmed from a side angle. The shoulder and trunk rotation are broken into discrete frames, making the degree of shoulder turn and the timing of the trunk uncoil within the kinetic chain clearly distinguishable.
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33.6s |
The Athletic Foundation
John Yandell’s forehand from the center of the court, filmed from a side animation angle. The contact point is clearly in front of his body with the racket face slightly closed and accelerating upward on a steep low-to-high swing path.
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7.5s |
The Athletic Foundation
John Yandell’s forehand from the center of the court, filmed from a side CourtLevel angle. At contact, the racket face is slightly closed with the ball struck just in front of his lead hip, and the racket head accelerates steeply upward along a low-to-high swing path.
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28.1s |
Tour Strokes: Mysteries of Medvedev's Forehand (6 of 83)
John Yandell's forehand from a neutral baseline position, filmed from a side CourtLevel angle. His follow-through finishes high across his body as his weight transfers fully onto his front foot, with the non-hitting hand extending back to help him recover quickly toward a ready position.
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5.9s |
Technical Flaws in Pro Two Handers: John Isner (6 of 83)
John Yandell’s two-handed backhand from a neutral baseline position, filmed from a rear court-level angle. His compact split step transitions quickly into a small pivot and semi-open stance, with short adjustment steps aligning his outside foot before he drives through the shot.
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8.6s |
Technical Flaws in ProTwo Handers: Jack Sock (6 of 92)
John Yandell’s two-handed backhand from the baseline, filmed from a side CourtLevel angle. His stance stays mostly neutral with the front foot stepping diagonally into the ball, and his recovery uses a small adjustment hop that sets up an immediate lateral push back toward the center.
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8.5s |
Mysteries of the Heavy Ball:Speed and Spin in the Serves of Pete Sampras and Greg Rusedski (6 of 7)
John Yandell's serve from the deuce court, filmed from a rear court-level angle. His shoulders load into a pronounced coil with the tossing arm fully extended upward before the trunk uncoils in sequence from hips to shoulders into contact.
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9.2s |
Roger Federer's Serve
John Yandell’s forehand from the center of the baseline, filmed from a side CourtLevel angle. His semi-western grip is evident in the strong wrist lag on the forward swing, with the wrist staying laid back until just before contact.
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17.1s |
Your Strokes: Andy Roddick's Backhand (5 of 9)
Andy Roddick's two-handed backhand from a neutral baseline position, filmed from a side animation angle. His hips stay relatively closed through the load with a deep knee bend, then drive upward and slightly forward as his legs extend into contact.
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11s |
Integrating the Technical and the Mental Games (4 of 14)
Jeff Greenwald's serve from a platform stance, filmed from a side angle. His feet remain anchored in a stable platform base with a clear knee bend before driving upward, and there is minimal rear-foot slide as he transfers weight into the court.
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3.9s |
The Two-Handed Backhand: The 4 Variations
John Yandell's full-motion groundstroke from a central baseline position, filmed from a court-level side angle. His shoulders coil well past 90 degrees relative to the net before uncoiling in sync with the trunk rotation, clearly showing the sequencing from hip turn to upper torso release.
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6.6s |
Mental Imagery: Synthesizing the Physical and Mental Games (6 of 10)
John Yandell’s animation sequence of key positions in the stroke, filmed from a composite instructional angle. The racket’s contact point is frozen with a square face to the incoming ball and a clearly defined spacing from the body, making the relationship between hand path and racket head position easy to compare frame by frame.
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4.3s |
Your Strokes: Gavin Rossdale Forehand (6 of 7)
Agassi's ready stance on the baseline, filmed from a side animation angle. His semi-open stance is paired with relaxed hands on the grip and a neutral, steady wrist position before any unit turn or wrist lag begins.
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10.5s |
Your Strokes: Alan 1st and 2nd Serves (6 of 8)
Alan’s serve from a neutral position, filmed from a side angle. His back leg loads deeply with a noticeable knee bend and then drives forward, helping his hips rotate into the court during the upward swing.
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16s |
Your Strokes: Alex Mikhailov One-Handed Backhand (6 of 8)
Alex Mikhailov's one-handed backhand from a neutral baseline position, filmed from a side animation angle. His footwork sequence features a small adjustment hop into a closed stance, followed by a pronounced front-foot plant that anchors the weight transfer before the swing.
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6.3s |
Andy Roddick's Two-Handed Backhand
John Yandell’s FH InsideOut from the center of the court, filmed from a side CourtLevel angle. His hips load in a closed position with deep knee flexion, then uncoil as his legs drive upward and forward into contact.
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13.6s |
The Extreme Closed Stance: Two Handed Backhand Norm?
John Yandell’s unit turn animation from a neutral baseline position, filmed from a side angle. His semi-western forehand grip is clearly visible as the wrist stays laid back in early preparation, then maintains that lag position through the turn without any premature wrist snap.
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15s |
Your Strokes: Arthur Gosnell: Serve (6 of 12)
Arthur Gosnell's serve from a stationary position, filmed from an animation-style side angle. The side view makes the deep racket drop clear, with a loose wrist allowing the racquet head to fall well below the hand before pronation into contact.
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7.3s |
Two "Modern" Forehands
John Yandell’s forehand from the middle of the court, filmed from a side angle. His hips load with a pronounced coil while the knees stay deeply flexed, then the legs drive upward and forward to uncoil the hips into contact.
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4.3s |
Your Strokes: TLM's Extreme Grip Forehand (6 of 16)
TLM's forehand backswing from a neutral court position, filmed from an animation-based instructional angle. The hips visibly coil against a wide, stable base, with a pronounced knee bend that loads the legs before uncoiling into the forward swing.
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7.6s |
The Forehand Return of Serve Part 1: Compact Classical
John Yandell's animation of the backswing sequence, filmed from a side CourtLevel angle. The hips and legs can be seen progressively loading with increased knee flexion and a coiling of the hips against the legs as the backswing moves through each frame.
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7.5s |
John Yandell: Del Potro's Forehand Analyzed (6 of 14)
John Yandell’s forehand from a neutral position, filmed from an animated side-view sequence. The animation clearly depicts the racquet lag with a laid-back wrist and semi-western grip as the hand moves from the start of the backswing up to the fully coiled top of the swing.
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10.9s |
The Two-Handed Backhand: Preparation and Backswing
John Yandell’s FH from the middle of the court, filmed from a side CourtLevel angle. His hips load with a noticeable coil against a flexed back leg, then uncoil as the front leg drives forward, clearly showing how the lower body sequences into the forward swing.
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21.4s |
Your Strokes: Barry Gaines Forehand (6 of 7)
Barry Gaines's forehand from the center of the court, filmed from a side CourtLevel angle. At contact his racket face is slightly closed with the ball struck just in front of his lead hip, and the racket head accelerates upward along a steep low-to-high path.
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3.2s |
The Two-Handed Backhand: The Forward Swing
John Yandell's forehand from a neutral position, filmed from a court-level side angle. His hips stay relatively closed as the knees remain flexed through contact, with the rear leg driving forward to initiate rotation after the ball is struck.
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4s |
Myths About Low to High on the Pro Forehand
John Yandell’s forehand from the middle of the court, filmed from an animated side view based on high-speed video. The contact point is clearly in front of his body with a slightly closed racket face and an upward swing path that accelerates the racket head through the ball.
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5.8s |
Grip Structures in the Modern Forehand
John Yandell’s forehand from the deuce court, filmed from a rear court-level angle. His follow-through finishes high across his body while his non-hitting hand extends back for balance before he quickly returns to a neutral ready position.
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3.4s |
Your Strokes: Bob Farese: Forehand Volley (6 of 6)
Bob Farese's forehand volley from the net, filmed from a court-level front angle. After contact his racquet finishes slightly in front of his body as he steps through with his front foot and quickly brings both hands back toward a ready position.
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15.4s |
Tennisplayer Approaches 20! (6 of 13)
John Yandell’s stroke mechanics are analyzed in an animated sequence from a composite camera angle. The contact point is broken into frame-by-frame positions, making the exact racket face angle and path through the strike zone clearly visible.
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3.9s |
Your Strokes: Carl Sutherland: Slice Backhand (6 of 7)
Carl Sutherland's slice backhand from a neutral court position, filmed from a side angle. His knees stay softly flexed with a noticeable hip hinge, and his back leg extends slightly behind to support a low, stable base through contact.
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3.7s |
The Two-Handed Backhand: The Hitting Stances
John Yandell's forehand from the baseline, filmed from a side angle. His closed stance is clear as his front foot steps across the body line before contact, with a distinct weight transfer from back to front leg during the swing.
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7.1s |
The Wimbledon Final 2008: A Different Story? (6 of 22)
John Yandell’s pre-point coin flip routine at the net, filmed from a front angle. His neutral leg stance and minimal hip movement emphasize a relaxed, upright posture before play begins, with knees only slightly flexed and weight evenly distributed.
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49.8s |
Novak Djokovic's Forehand: The Unit Turn
John Yandell’s complex animation sequence of multiple strokes from a central baseline position, filmed from a blended side and rear composite angle. The contact points are aligned frame-by-frame so you can compare racket face angle and swing path timing across different strokes at the exact moment of impact.
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11.4s |
Your Strokes: Param Srinivas: Straight Arm Forehand (7 of 10)
Param Srinivas's straight-arm forehand contact phase from a neutral baseline position, filmed from a side angle. His hips stay mostly square to the net at contact while the legs remain flexed, showing a firm base with limited upward leg drive through the ball.
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5.4s |
One Handed Backhand Part 4: The Forward Swing
John Yandell’s forehand from the center of the court, filmed from a rear court-level angle. His semi-western grip is evident in the strong wrist lag before contact, with the wrist laid back and then stabilizing as the racquet squares up to the ball.
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13.6s |
The Pro Return: The One Handed Backhand Drive
John Yandell’s animation of a cross-step movement pattern from a neutral court position, filmed from a side angle. The sequence makes the timing of the racket’s forward acceleration clear, with the racket head lagging behind the hand until just before contact.
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11.7s |
Your Strokes: Danielle Dotzenrod Forehand (6 of 9)
Del Potro's forehand from a central baseline position, filmed from a side angle. His footwork features a pronounced load on the outside leg into a strong semi-open stance, with a clear weight transfer forward as he drives through the ball.
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3.5s |
Doug Eng: The Modern Two-Handed Backhand: Grips
John Yandell’s forehand from the center of the baseline, filmed from a side CourtLevel angle. His follow-through wraps fully across his body with his non-hitting hand staying back as he transfers weight into the court and quickly recovers toward a neutral ready position.
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6.5s |
Novak Djokovic's Forehand: The Forward Swing
John Yandell's forehand from the center of the court, filmed from a side angle. His footwork includes a small adjustment hop into a semi-open stance, with the outside leg loading before a controlled recovery step back toward the center.
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5.1s |
Serena's Serve and Venus's Two-Hander (6 of 7)
John Yandell's double-bend forehand animation from a neutral court position, filmed from a side CourtLevel angle. The side view makes the laid-back wrist and stable semi-western grip especially clear as the racket lags behind the forearm before rotating through contact.
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5.5s |
Measuring Racket Head Speed: A New Study of the Sampras Serve
John Yandell’s forehand contact sequence from a central court position, filmed from a side angle. His follow-through finishes high with the hitting arm extending out toward the target while his non-hitting hand stays back to help stabilize his torso before he recovers to a neutral ready position.
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3.5s |
John Yandell: Sampras Serve: Hip and Shoulder Rotation
John Yandell’s FH preparation movement from the center of the baseline, filmed from a side CourtLevel angle. His hips and legs clearly load into a deep knee bend with the rear hip coiling as the outside leg takes the weight before initiating the unit turn.
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6.7s |
Your Strokes: Tyler Zink Serve (6 of 11)
Tyler Zink's serve from the center of the baseline, filmed from a rear angle. After contact he lands on his front leg with his back leg kicking behind him, then quickly regroups into a balanced ready position with both hands returning toward the racket.
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6.9s |
Your Strokes: Jonathan Ryle Serve (2 of 11)
Federer's serve from a central baseline position, filmed from a side animation angle. His follow-through brings his racquet down across his body as his back leg swings forward into the court, finishing in a balanced, ready stance.
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3.5s |
Hitting Stances in the Modern Forehand
John Yandell's neutral-stance forehand from the center of the court, filmed from a court-level side angle. His semi-western grip is evident in the way the racket face stays closed with a pronounced wrist lag that unwinds into a distinct pronation through contact.
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4.3s |
Your Strokes: Bryan Yeager One Handed Backhand (6 of 10)
Federer's recovery step movement after a groundstroke, filmed from a side animation angle. The shoulders and trunk clearly unwind from their rotated hitting position back toward neutral, with the torso initiating the change of direction before the legs complete the recovery steps.
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9.4s |
How Roger Federer Won the US Open (6 of 7)
John Yandell’s serve from a central baseline position, filmed from a rear court-level angle. The racket face can be seen pronating rapidly through contact with a slightly closed angle, meeting the ball at full extension well above his head to maximize upward swing path and racket head speed.
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2.8s |
The One Handed Topspin Backhand Part 2
John Yandell’s forehand from a neutral position, filmed from a side court-level angle. His shoulders rotate well past 90 degrees relative to the net on the unit turn, with a clearly visible sequential uncoiling of trunk and shoulders into contact.
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4.3s |
Your Strokes: John Daly Serve Part 1 (6 of 7)
Federer's serve from the center of the baseline, filmed from a side CourtLevel angle. His pronounced knee bend is clearly visible as he sinks into a deep crouch before driving upward, with his feet staying grounded in a stable platform stance through the loading phase.
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11.8s |
Tour Strokes: My Take on Leylah Fernandez's Forehand (6 of 8)
John Yandell’s forehand from the Deuce side, filmed from a CourtLevel angle. After contact his follow-through wraps across his body while his non-hitting hand stays back for counterbalance, and he quickly regains a neutral ready position with weight settling on his front foot.
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12.1s |
Your Strokes: Chris Thurstone Forehand (6 of 12)
Federer's forehand from a neutral court position, filmed from a side angle. His follow-through finishes high across his body while his weight transfers onto his front foot, quickly bringing both hands back to a ready position for the next shot.
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5.5s |
Your Strokes: Norman Ashbrooke Serve (7 of 10)
Federer's platform serve motion from the baseline, filmed from a side CourtLevel angle. His weight transfers from the back foot to the front leg as he lands and immediately brings both hands back to a neutral ready position after the follow-through.
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3.7s |
John Yandell: The Forehand: Where Are We Now?
John Yandell’s forehand comparison of Federer and Sock from the center of the baseline, filmed from a rear angle. The contact frames emphasize racket face angle differences at impact, with Federer’s face slightly more closed and Sock’s more open while both strike the ball around waist height with rapid upward racket head acceleration.
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11.9s |
Why Rafa Crushed Roger at the French 2007 (6 of 11)
John Yandell's forehand from the Deuce court, filmed from a rear CourtLevel angle. His split-step precedes a quick lateral adjustment into a semi-open stance, with a clear recovery step back toward the center after contact.
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8.6s |
Further Thoughts: The Serve (6 of 20)
John Yandell’s serve from a central baseline position, filmed from a side CourtLevel angle. After contact he drives his weight into the court with a full pronation and lets his hitting arm finish across his body while his non-hitting hand drops to help him recover into a balanced ready stance.
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7.1s |
Your Strokes: Ryan Dickerson: Forehand (6 of 13)
Ryan Dickerson's forehand from a central baseline position, filmed from a side angle. His semi-western grip is clear, with noticeable wrist lag on the racquet drop and a sharp pronation of the wrist through contact.
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6.6s |
The Extreme Closed Stance: The Pro One Handed Backhand
John Yandell’s forehand and backhand stroke animations from the center of the court, filmed from a composite side and rear angle. His footwork sequences clearly display a well-timed split step into small adjustment steps, moving into a neutral stance on the forehand and a closed stance on the one-handed backhand.
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7.4s |
Hand and Arm Rotation
John Yandell’s forehand from the Deuce court, filmed from a CourtLevel rear angle. At contact his racket face is slightly closed with the ball met just in front of his lead hip, and the upward, low-to-high swing path accelerates the racket head steeply through the contact zone.
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7.5s |
Your Strokes: Giancarlo Andreani: Two-Handed Backhand (6 of 7)
Giancarlo Andreani's two-handed backhand from a neutral baseline position, filmed from a side angle. His semi-closed double-handed grip is clear, with the non-dominant hand driving the racquet and a firm but relaxed wrist structure that stays stable through contact with only a subtle release after impact.
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6.3s |
Your Strokes: Evan Chiang Serve (6 of 20)
Evan Chiang's serve from a central baseline position, filmed from an animated instructional angle. His motion includes a clear weight transfer onto the front foot with a stable, slightly closed stance as he drives up to contact.
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2.6s |
Tour Strokes: Dominic Thiem Second Serve (6 of 7)
John Yandell’s serve motion from a neutral head-on position, filmed from a CourtLevel front angle. His head stays remarkably still through contact, while the racket accelerates upward with a slightly closed face as it meets the ball well above his outstretched tossing arm.
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22.3s |
The One-Handed Backhand: Stances
John Yandell’s forehand from the center of the court, filmed from a rear angle. The contact point is clearly in front of his body with the racket face slightly closed and the racket head accelerating upward on a steep low-to-high path.
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10.3s |
Your Strokes: Allan Murphy Forehand (6 of 7)
Henman's forehand from the center of the court, filmed from a side angle. His follow-through finishes high across his body with his weight moving forward into the court, and he quickly returns his non-hitting hand to the racket throat to reset in a ready position.
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4.2s |
John Yandell: Forehand Volley
John Yandell’s forehand unit turn from the center of the court, filmed from a side angle. His shoulders and hips turn together as his weight loads onto the back leg, with the non-hitting hand extended on the racquet throat before he recovers toward a neutral ready position.
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6.2s |
Two Handed Backhand Stances in Women's Pro Tennis
John Yandell’s hitting-arm animation sequence, filmed from a neutral instructional angle. The hips stay relatively stable while the legs provide a consistent base, with a slight knee flex that supports upper-body rotation without large lower-body drive.
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7.4s |
Your Strokes: Kyle Doppelt Serve Contact Point (6 of 7)
Kyle Doppelt's serve contact point animation from a central court position, filmed from a side angle. His continental grip is evident in the slightly angled racket face, with a clear wrist pronation through contact as the forearm rotates to bring the strings square to the ball.
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6.7s |
Tour Strokes: Andrei Rublev Serve (6 of 12)
John Yandell’s serve from a central baseline position, filmed from a side CourtLevel angle. His shoulder line turns well past perpendicular to the net as the trunk coils around the spine, then uncoils in a clearly sequenced motion from hips to shoulders into the contact.
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9.9s |
The Two-Handed Backhand: Hand and Arm Rotation
John Yandell’s forehand from the center of the baseline, filmed from a side CourtLevel angle. His stance transitions from a semi-open to more neutral as he steps into the ball, with a clear load on the outside leg before rotating the hips and shoulders through contact.
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16.5s |
Your Strokes: Paulo Caneiro: Forehand (6 of 7)
Paulo Caneiro's forehand from a central baseline position, filmed from a side CourtLevel angle. His semi-western grip is clear in the way the racket face stays closed with pronounced wrist lag before a sharp forward release into contact.
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4.2s |
Tour Strokes: Justine Henin Serve (6 of 7)
John Yandell’s serve from a central baseline position, animated from a mixed rear and side composite angle. His hips load deeply with a pronounced knee bend, then drive up and uncoil so the rear hip swings forward into contact while the legs extend aggressively off the ground.
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8.9s |
John Yandell: Backhand Volley
John Yandell’s hitting arm animation from a central court position, filmed from a side angle. The follow-through path and elbow extension are clearly traced frame by frame, making it easy to see when the arm relaxes and begins to recoil into a neutral ready position.
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2.3s |
The Pro Slice and Your Slice
John Yandell's topspin forehand from a neutral baseline position, filmed from a side CourtLevel angle. His shoulders rotate well past 90 degrees on the unit turn, with a clearly defined trunk coil that uncoils ahead of the arm to initiate the forward swing.
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4.9s |
Tour Strokes: Kei Nishikori Serve (6 of 7)
John Yandell’s animation of Kei Nishikori’s serve from a neutral camera position, filmed from a side angle. The sequence makes the contact point easy to compare frame-by-frame, with the racket face moving from a slightly closed position into a square alignment at full extension above the hitting shoulder.
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7.4s |
Your Strokes: Kevin Patrick: Forehand (6 of 8)
Kevin's forehand from the center of the baseline, filmed from a side court-level angle. His follow-through wraps across his body with his non-hitting hand counterbalancing behind him as he recovers back toward a neutral ready position.
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5.7s |
Your Strokes: Gayahtri Evani: Two Handed Backhand (6 of 6)
Kim’s two-handed backhand from the center of the baseline, filmed from a side CourtLevel angle. At contact, the racket face is almost perfectly vertical with the ball struck around waist height, and the racket head continues forward on a slightly upward path through the hitting zone.
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2.8s |
The Lesson Process: The Serve: Part 2 (6 of 17)
Kerry Mitchell’s serve finish position from the center of the baseline, filmed from a side angle. The video makes it easy to see the strong knee extension and hip drive up through contact, with the back hip fully through and the rear leg released forward into the court.
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3.1s |
Your Strokes: "Modern" Club Play: Fully Open Stance (6 of 10)
Player's groundstroke from a neutral court position, filmed from a side angle. The follow-through rises over the opposite shoulder while the knees extend from a deep bend into a more upright recovery, bringing the player back toward a ready stance.
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4.6s |
Your Strokes: Francis Tiafoe: Serve (6 of 7)
Francis Tiafoe's serve from a central baseline position, filmed from a side animation angle. You can clearly see the shoulders tilt and rotate over a deep knee bend, with the trunk coil winding on the backswing and then uncoiling in sequence as the legs extend into the hit.
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13.7s |
The Modern Pro Slice: Part 1
John Yandell’s forehand from a neutral court position, filmed from a rear animation angle. His shoulders turn well past 90 degrees relative to the baseline, with a clearly defined trunk coil that uncoils in sequence before the arm accelerates forward.
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5.8s |
The Modern Pro Slice: Part 1
John Yandell’s groundstroke from the center of the court, filmed from an animation-style side angle. His hips and legs load with a deep knee bend and pronounced rear-hip coil, then drive forward as the back leg extends and the front knee straightens into contact.
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5.8s |
The Modern Pro Slice: Part 1
John Yandell’s forehand from the center of the court, filmed from an animated side-view sequence. His hips load with a deep knee bend before driving upward and forward, showing clear leg extension timing into contact.
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5.8s |
Your Strokes: Paul Goldstein: Serve Part 2 (6 of 8)
Paul Goldstein's serve from a central position, filmed from a side court-level angle. His continental grip stays firm while the wrist pronates progressively through contact, with a noticeable snap just after impact before relaxing in the follow-through.
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15.3s |
The Myth of the Archer's Bow
John Yandell’s forehand from the middle of the court, filmed from a side animation angle. The animation clearly depicts his semi-western grip and pronounced wrist lag that unwinds into strong forearm and wrist pronation through contact.
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6.4s |
Three Lessons I Learned From Rafa in Miami--and You Can Too
John Yandell’s neutral-court movement and hitting position, filmed from a mixed side/rear instructional angle. His footwork pattern includes a clearly timed split-step into small adjustment steps that set a stable, mostly neutral stance before contact.
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7.2s |
Three Lessons I Learned From Rafa in Miami--and You Can Too (6 of 18)
John Yandell’s forehand from the center of the baseline, filmed from a court-level side angle. His hips load by turning away from the net with a clear sit into the outside leg, then drive forward and uncoil as the rear knee straightens through contact.
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7.2s |
The Myth of the Recovery Step: Forehand
John Yandell’s forehand while moving back from a neutral baseline position, filmed from a side CourtLevel angle. His semi-western grip is clear, with a pronounced wrist lag on the forward swing that unwinds into a firm, stable wrist at contact.
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30.7s |
Rafael Nadal's Forehand
John Yandell’s forehand from the center of the court, filmed from a rear court-level angle. The contact point is slightly in front of his lead hip with the racket face just a bit closed, and the racket head accelerates upward on a steep low-to-high path.
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8.5s |
Your Strokes: "Shroud" Forehand (6 of 11)
Nadal's forehand from a neutral position, filmed from a side animation angle. At contact the racket face is slightly closed with the ball struck around waist height, and the racket head accelerates steeply upward along a pronounced low-to-high swing path.
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10.4s |
Tomas Berdych's Forehand (6 of 16)
John Yandell's forehand from a neutral-to-open stance, filmed from a side court-level angle. His shoulders turn well past 90 degrees relative to the net, creating a pronounced trunk coil that then uncoils in sequence from hips to shoulders through contact.
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9.6s |
Your Strokes: Eva So: Forehand (6 of 6)
Eva So's forehand from the center of the court, filmed from a rear court-level angle. Her follow-through finishes high across her body while her non-hitting hand extends back for balance before she recovers to a neutral ready position.
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3.6s |
Your Strokes: Esaam Ismail: Serve (6 of 6)
Esaam Ismail's serve from a central baseline position, filmed from a side CourtLevel angle. His hips load by turning away from the court while the knees bend deeply, creating a clear upward leg drive into the hit.
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13.9s |
John Yandell: Classical Tennis and Modern Tennis
John Yandell’s forehand from a neutral position, filmed from a side CourtLevel angle. His shoulders turn well past 90 degrees relative to the baseline, creating a pronounced trunk coil that then uncoils in sequence from hips to shoulders into contact.
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4.5s |
John Yandell: Classical Tennis and Modern Tennis
Novak Djokovic's groundstrokes from the center of the court, filmed from a side animation view. His footwork pattern clearly displays his loaded semi-open stance with a deep knee bend and strong push off the outside leg before rotating through the shot.
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8.1s |
Technical Flaws in ProTwo Handers: Milos Raonic (6 of 8)
John Yandell's backhand from the center of the court, filmed from a side angle. His hips stay relatively closed at load with a deep knee bend, then uncoil in sync with a strong upward leg drive through contact.
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18.1s |
Novak Djokovic's Forehand: The Full Turn and the Backswing
John Yandell's forehand from the ad court, filmed from a side animation angle. His outside leg plants first in a wide semi-open stance, with a clear weight load on that leg before he uncoils and uses small recovery steps to get back into position.
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4.5s |
Novak Djokovic's Forehand: A New Synthesis
John Yandell’s movement and stroke patterns from a central baseline position, filmed from a side CourtLevel angle. His compact split step into a semi-open stance is followed by small adjustment steps that align his body optimally to the incoming ball before each swing.
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3.1s |
The Myth of the Magic Bullet
John Yandell’s serve from a neutral stance in the center of the baseline, filmed from a side CourtLevel angle. His hips stay closed as the knees flex into a deep loading position, with a clear upward leg drive initiating the uncoiling of the hips into the trophy and racket-drop phases.
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6.8s |
Your Strokes: Danielle Dotzenrod: Forehand Evolution (6 of 7)
Danielle Dotzenrod's forehand from a neutral baseline position, filmed from a side court-level angle. Her shoulders rotate well past 90 degrees relative to the net on the unit turn, then the trunk uncoils ahead of the arm swing, clearly separating hip and shoulder rotation during the forward phase.
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5s |
Mysteries of the Heavy Ball:Practical Serving Implications (6 of 10)
John Yandell’s serve from the far left side of the baseline, filmed from a rear court-level angle. His stance starts in a moderately closed position, and you can see a rhythmic front-foot pivot into the court followed by a balanced landing on the left leg that sets up efficient recovery steps.
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12.7s |
Your Strokes: Todd Haydon Serve (6 of 13)
Philippoussis's serve from a central baseline position, filmed from a rear court-level angle. His rhythmic footwork into the pinpoint stance is clear, with both feet drawing together before an aggressive knee bend and upward drive into the court.
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6.1s |
Your Strokes: Phil Picuri Serve (6 of 8)
Philippoussis's serve from a central baseline position, filmed from a rear court-level angle. His continental grip stays firm while the wrist stays relaxed into a deep lag during the wind-up before pronating aggressively through contact.
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11.2s |
Your Strokes: Phil Picuri Forehand (6 of 7)
Phil's forehand from a neutral position, filmed from a side animation view. The racket meets the ball slightly in front of his lead hip with a closed racket face and a steep low-to-high swing path that accelerates rapidly through contact.
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4.2s |
Three Secrets for Destroying Pushers (6 of 16)
John Yandell’s point construction sequence from a neutral baseline position, filmed from a court-level angle. His shoulders and trunk repeatedly coil early against the hips before uncoiling into contact, making the degree and timing of upper-body rotation easy to compare across successive strokes.
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4s |
Your Strokes: Sumner Chase Two-Handed Backhand (6 of 8)
Sumner Chase's two-handed backhand from the baseline Deuce side, filmed from a rear court-level angle. After contact he finishes with the racquet wrapping high over his right shoulder while his weight shifts onto his front foot, quickly bringing both hands back toward a neutral ready position.
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8.4s |
Your Strokes: John Daly: Serve Part 2 (6 of 13)
John Daly's serve from a central baseline position, filmed from a rear court-level angle. His shoulders rotate well past 90 degrees relative to the net, creating a pronounced trunk coil that then uncoils sequentially from hips to shoulders into the hitting arm.
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4.1s |
Grip Structures in the Modern Forehand Part 2
John Yandell's forehand from the center of the baseline, filmed from a rear court-level angle. His staggered neutral stance transitions into an open stance as he loads on the outside leg, with small adjustment steps taken before contact to fine-tune spacing.
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4s |
The Myth of the Dog
John Yandell’s forehand from the middle of the court, filmed from a side animation angle. His hips load with a clear coil against a deep knee bend, then uncoil as the rear leg drives upward and forward to initiate rotation through contact.
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9.7s |
The Myth of Lag and Snap
John Yandell's forehand from the center of the court, filmed from a court-level side angle. His follow-through finishes high with the hitting arm extending across his body while his non-hitting hand helps him quickly recover into a balanced ready position.
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14.6s |
Your Strokes: Ted Gregory: One Handed Backhand (6 of 8)
Roger Federer's one-handed backhand from a neutral court position, filmed from an animated side view. His hips clearly close as he loads on the outside leg with a deep knee bend, then open through contact as the rear leg drives forward into the court.
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7.9s |
Your Strokes: Olivier Lingband: Serve (6 of 7)
Roger Federer’s serve from a central baseline position, filmed from a rear court-level angle. His feet load in a pinpoint stance with the back foot drawing up to the front foot before the knee bend, and after contact he lands on the front foot and takes a small recovery step behind the baseline.
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9.7s |
Andy Murray and the Open Stance Forehand
John Yandell’s forehand rotation sequence from a central court position, filmed from a side angle. His footwork progression clearly displays how he transitions from a neutral stance into a more open orientation as his hips and shoulders rotate forward into contact.
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12.1s |
The Serve and Swinging Volley: Next Revolution? (6 of 30)
John Yandell’s serve and swinging FH volley sequence from the center of the court, filmed from a rear angle. His follow-through carries his racket fully across his body while his weight transfers decisively into the court, letting him recover quickly forward for the attacking volley position.
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21.3s |
The Serve and Swinging Volley: Next Revolution?
John Yandell’s stroke analysis animation, filmed from a composite multi-angle high-speed sequence. The racket’s contact point is broken down frame-by-frame, clearly showing the changing racket face angle through impact and the exact contact height relative to the player’s shoulder line.
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21.3s |
Roger's Revenge: Wimbledon 2007 (6 of 15)
John Yandell's sitting passing shot practice from mid-court, filmed from a side angle. His feet remain grounded and parallel while seated, emphasizing upper-body rotation in place of traditional split-step and stance changes.
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9.1s |
Stan Wawrinka's Backhand
John Yandell’s stance animations from a neutral court position, filmed from a side and slightly elevated angle. His hips and legs clearly cycle through different stance widths and knee flex levels, making it easy to see how hip orientation and leg loading change between neutral, semi-open, and open stances.
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8.5s |
Stan Wawrinka's Backhand (5 of 11)
John Yandell's animation of different stances on the backhand side from a central court position, filmed from a side CourtLevel angle. The sequence makes it easy to see how the contact point stays consistently in front of the body while the racket face angle adjusts slightly with each stance variation.
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8.5s |
The Forehand Return of Serve Part 2: Extreme Grips
John Yandell’s starting position animation for multiple strokes is presented from a composite, instructional camera angle. The wrist positions are clearly differentiated between forehand, backhand, and serve setups, emphasizing distinct degrees of wrist lag and neutral alignment relative to each grip.
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15.5s |
The Forehand Volley Variations
John Yandell's forehand from the center of the court, filmed from a side CourtLevel angle. His semi-western grip is evident in the way the racket face closes slightly at the bottom of the loop, with a pronounced wrist lag maintained until just before contact.
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8s |
Wimbledon Journal (6 of 8)
John Yandell's forehand from the center of the court, filmed from a side CourtLevel angle. His hips load with a clear coil against a deep knee bend, then uncoil as his rear leg drives forward and upward into contact.
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6.7s |
The Stringbed and Pro Contact
John Yandell’s forehand from a neutral baseline position, filmed from a side CourtLevel angle. After contact he extends his follow-through across his body while his non-hitting hand helps him rotate back into a balanced, ready position for the next shot.
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3.3s |
Pete Sampras: New Filming Protocols, Classic Motions
John Yandell’s torso rotation animation from a neutral court position, filmed from a side angle. The sequence makes the degree of shoulder turn relative to the hips explicit, emphasizing how the trunk coils and then uncoils with a slight lag of hip rotation initiating before the shoulders.
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8.9s |
Tour Strokes: Andy Murray's Serve (6 of 6)
John Yandell's serve toss from the center of the baseline, filmed from a side angle. His shoulder line and trunk stay relatively closed as the tossing arm rises, with a noticeable delayed uncoil of the torso that begins only after the tossing arm reaches full extension.
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8.3s |
Roger Federer: Serve Part 2
John Yandell’s serve toss and drop sequence from the center of the baseline, filmed from a CourtLevel rear angle. His knees flex noticeably as the tossing arm rises, with the hips staying relatively level before the legs extend upward into the racquet drop.
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4.3s |
Your Strokes: Larry Landsman: Slice Backhand (6 of 18)
Larry Landsman’s slice backhand from a neutral court position, filmed from a side angle. His hips stay relatively closed to the net while his front knee flexes deeply, showing a pronounced weight shift from the back leg to the front leg through contact.
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3.8s |
What is "True" in Tennis?
John Yandell’s forehand from the center of the court, filmed from a side CourtLevel angle. His shoulders make an early, pronounced turn relative to his hips, creating a clear trunk coil that then uncoils sequentially from the pelvis through the torso into the hitting arm.
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15.4s |
Your Strokes: Jacky Duchamp Forehand (6 of 9)
Jacky Duchamp's forehand from a neutral baseline position, filmed from a side court-level angle. His shoulders rotate well past 90 degrees relative to the net in the unit turn, with a clearly coiled trunk that uncoils in sequence from hips to shoulders into contact.
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9.6s |
John Yandell: The One Handed Pro Backhand: Part 3
John Yandell’s forehand from the center of the baseline, filmed from a rear court-level angle. His semi-western grip is clear, with a pronounced wrist lag in the racquet drop that unwinds into a controlled, stable wrist position at contact.
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10s |
Your Strokes: Vin Miller: Serve (6 of 10)
Vin Miller's serve from a central baseline position, filmed from a side CourtLevel angle. At contact his racket face is slightly closed with the ball struck just above head height, and the racket head accelerates upward along a steep, pronated swing path.
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6.1s |
John Yandell: Your Strokes: Paul Goldstein's Serve (6 of 9)
Wayne Arthurs' serve from a central baseline position, filmed from a rear court-level angle. His feet stay staggered in a pinpoint stance, with a pronounced knee bend before he drives up and lands slightly into the court on his front foot.
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6.2s |
Federer's Serve Locations: 1st Serve Ad Court
John Yandell's wide serve from a central position, filmed from a tight side angle. His shoulders rotate well past 90 degrees relative to the baseline, with a pronounced trunk coil that uncoils sequentially from hips to chest just before racket drop and upward swing.
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8.3s |
The Forehand Followthrough: Extension and Rotation
John Yandell’s forehand from the center of the baseline, filmed from a side CourtLevel angle. His footwork includes a small adjustment hop into a neutral stance, with a clear pivot on the front foot as he transfers weight forward into the shot.
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21.5s |
Your Strokes: Andy Plunkett: 1-Handed Backhand (6 of 8)
Andy Plunkett’s one-handed backhand from a neutral stance, filmed from a side court-level angle. His hips stay closed as he loads with a deep knee bend, then unwind with noticeable leg drive pushing up and forward through contact.
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13.6s |
Your Strokes: Shooter McMarco: Backhand (6 of 7)
Shooter McMarco's two-handed backhand from the center of the baseline, filmed from a rear court-level angle. His split-step precedes a small adjustment hop into a semi-open stance, followed by a quick recovery step back toward the middle after contact.
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11.9s |
Your Strokes: Mike Widell Forehand (6 of 8)
Mike Widell's forehand from the middle of the court, filmed from a side CourtLevel angle. His shoulders turn well past perpendicular to the net on the unit turn, then uncoil in sync with the trunk so that his chest faces the target shortly after contact.
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4.3s |
Understanding Andy Roddick's Serve Part 2
John Yandell's serve from the deuce side, filmed from the side. His hips stay closed to the net through the knee bend, with a pronounced leg drive upward that initiates a rapid uncoiling of the hips into contact.
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9.6s |
Understanding Andy Roddick's Serve Part 1
John Yandell's heavy ball forehand from a neutral court position, filmed from a rear court-level angle. His semi-western grip is evident in the way the racquet face stays closed with a pronounced wrist lag that unwinds into a strong pronation through contact.
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2.6s |
Understanding Andy Roddick's Serve Part 1
John Yandell’s heavy-ball forehand from a neutral baseline position, filmed from a rear court-level angle. His shoulders rotate well past 90 degrees relative to the net on the unit turn, with a clearly visible stored trunk coil that uncoils ahead of the arm swing in a distinct kinetic chain sequence.
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2.6s |
The Athletic Foundation
John Yandell’s forehand from the middle of the court, filmed from a side angle. His hips load by turning sideways with a deep knee bend, then uncoil as the legs drive up and forward to initiate the forward swing.
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4.3s |
The Athletic Foundation
John Yandell’s stroke animation from a central court position, filmed from a side angle. The sequence makes the degree of shoulder turn and the timing of the trunk uncoil especially clear, with each frame isolating how the torso initiates rotation before the arm continues the swing.
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13s |
Your Strokes: Bastiaan One Handed Backhand (7 of 92)
Bastiaan's one-handed backhand from a central baseline position, filmed from an animated instructional angle. His footwork pattern emphasizes a small adjustment hop into a neutral stance, followed by a controlled step-through that helps him transfer weight into the shot.
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10.4s |
The Athletic Foundation
John Yandell’s animation sequence of multiple strokes is presented from a composite side and rear court view. The rotation of his shoulders and trunk is broken into distinct frame-by-frame positions, making the degree of coil and the timing of the uncoil in the kinetic chain easy to compare across strokes.
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17.8s |
The Myth of the Magic Bullet
John Yandell’s movement and stroke patterns from a central court position, filmed from a side CourtLevel angle. His compact adjustment steps into a neutral stance before contact and quick recovery shuffle back to ready position are clearly visible in the sequence.
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5.4s |
The Athletic Foundation
John Yandell’s stroke animation from a central court position, filmed from a side angle. The sequence makes it easy to see the progressive hip turn and uncoiling, along with the timing of knee flexion and leg drive through the hitting phase.
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15.3s |
The Athletic Foundation
John Yandell’s forehand from a central baseline position, filmed from a side CourtLevel angle. His footwork includes a small adjustment hop into a wide semi-open stance, followed by a clear pivot on the outside leg before driving forward into the shot.
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38.2s |
The Athletic Foundation
John Yandell’s groundstroke from a neutral position, filmed from a side angle. His follow-through finishes high with the hitting arm extending forward while his weight transfers onto the front foot and he quickly resets the racquet in front for the next ball.
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42.8s |
The Athletic Foundation
John Yandell’s stroke animation from a central court position, filmed from a side angle. His footwork pattern is broken into discrete frames that clearly separate the split-step landing, first directional push, and transition into an open stance before contact.
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10.5s |
Technical Flaws in ProTwo Handers: Jack Sock (7 of 92)
John Yandell’s two-handed backhand from a neutral baseline position, filmed from a rear court-level angle. His shoulders and trunk coil well past perpendicular to the net on the unit turn, then uncoil in a clearly sequenced motion where the torso rotation leads the arm swing through contact.
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9.8s |
Mysteries of the Heavy Ball:Speed and Spin in the Serves of Pete Sampras and Greg Rusedski (7 of 7)
John Yandell's first serve from the deuce court, filmed from a rear court-level angle. After contact he drives his weight into the court with a long pronated follow-through, then quickly drops the racquet and brings both hands back toward a compact ready position to recover.
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7.3s |
Your Strokes: Andy Roddick's Backhand (6 of 9)
Andy Roddick's backhand down the line from a neutral baseline position, filmed from a side angle. At contact his racket face is nearly square to the net with the ball struck around waist height, and the racket head accelerates steeply upward along the line of flight.
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5.9s |
Your Strokes: Danielle Dotzenrod Two-Handed Backhand
Generic player's forehand groundstroke from a central baseline position, filmed from a side angle. The animation emphasizes an early unit turn into a neutral stance, with the front foot planting firmly before the racquet extends fully through the contact zone.
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Your Strokes: Jonathan Ryle Serve (4 of 11)
Jonathan Ryle’s serve from a central baseline position, filmed from a rear court-level angle. At contact, the racket face is slightly closed with the ball struck well above head height, and the racket head accelerates steeply upward along the right side of his body.
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4.3s |
The Upward Swing: Federer's Serve in High Speed and High Def
John Yandell’s radial deviation wrist action during a forehand swing, filmed from a side angle. The racket tip moves in a distinct up-and-forward arc at contact, with the wrist laid back and the racket face slightly closed relative to the incoming ball.
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3.4s |
The Two-Handed Backhand: The 4 Variations
John Yandell's forehand foreswing, contact, and extension from a central baseline position, filmed from a court-level side angle. His stance moves from a semi-open position into contact with a strong forward weight transfer, and his recovery step pattern after extension is clearly visible along the baseline.
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4.7s |
Your Strokes: Katrina Allick Volleys (7 of 9)
Katrina Allick's forehand and backhand volleys from the net area, filmed from a side angle. Her compact split step into a slightly open stance before each volley is followed by a small adjustment step forward, with a clear recovery step back toward a neutral ready position between shots.
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4.3s |
The Two-Handed Backhand: The Hitting Stances
John Yandell’s forehand from the center of the court, filmed from a side CourtLevel angle. His shoulders coil well past 90 degrees relative to the net before uncoiling in sync with the trunk, making the sequential rotation from hips to torso to hitting shoulder easy to see.
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8.4s |
Hitting Stances in the Modern Forehand
John Yandell's rally forehand from the center of the court, filmed from a rear court-level angle. His footwork features a well-timed split step into a semi-open stance, followed by quick adjustment steps that position his outside leg to load before he initiates the forward swing.
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8.3s |
Your Strokes: Amber Park Forehand (7 of 10)
Amber Park's forehand from the middle of the court, filmed from a side angle. Her early unit turn into a semi-open stance is paired with a small adjustment hop and a balanced recovery step that returns her to a ready position after contact.
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9.2s |
The Two-Handed Backhand: Preparation and Backswing
John Yandell’s BH backswing from a neutral position, filmed from a side CourtLevel angle. His hips stay relatively closed to the net while the knees flex into a compact loading position, with the rear leg bearing more weight before the forward swing begins.
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7.9s |
The Extreme Closed Stance: Two Handed Backhand Norm?
John Yandell’s forehand from a neutral baseline position, filmed from a side angle. His footwork features a measured adjustment step into a strong semi-open stance, with the outside leg loading before uncoiling and a clear recovery step back toward the center.
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24.8s |
The Myth of the Dog
John Yandell’s forehand from the center of the baseline, filmed from multiple animation-style camera angles. His semi-western grip and laid-back wrist position are clearly visible, with a distinct wrist lag that unwinds into mild pronation just after contact.
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11.4s |
Your Strokes: Olivier Lingband: Serve (7 of 7)
Olivier Lingband's serve from a central baseline position, filmed from a rear court-level angle. His continental grip is clearly visible on the handle, with a pronounced wrist pronation through contact that turns the strings toward the target.
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10.4s |
Measuring Racket Head Speed: A New Study of the Sampras Serve
John Yandell’s serve arm drop sequence from the center of the baseline, filmed from a side angle. The racket head clearly falls below the level of his lower back with a laid-back wrist, setting the strings in a steeply closed angle just before the upward swing toward contact.
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4.6s |
The Extreme Closed Stance: The Pro One Handed Backhand
John Yandell’s forehand from a neutral baseline position, filmed from a side CourtLevel angle. At contact the racket face is slightly closed with the ball struck around waist height, and the racket head accelerates steeply upward along a modern windshield-wiper path.
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15.2s |
Tomas Berdych's Forehand
John Yandell’s animation of the backswing sequence, filmed from a composite CourtLevel side angle. The racket’s path into the slot, face angle alignment, and contact-point preparation are shown frame-by-frame, making the timing of racket drop and forward acceleration clearly visible.
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11.4s |
Tomas Berdych's Forehand (7 of 16)
John Yandell's forehand backswing animation from a neutral position, filmed from a side angle. The hips and legs load into a deep knee bend with the rear hip coiling backward, clearly showing how the legs store energy before driving into the forward swing.
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6.3s |
Your Strokes: Larry Landsman: Slice Backhand (7 of 18)
Larry Landsman’s slice backhand from a neutral court position, filmed from a side animation angle. His continental grip stays firm as the wrist remains laid back through the backswing, with only a subtle unhinging as the racquet moves forward toward contact.
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5.9s |
Tennisplayer Approaches 20! (8 of 13)
John Yandell’s neutral stance forehand from the center of the court, filmed from a court-level side angle. After contact he extends his non-hitting hand back for counterbalance and smoothly recovers to a ready position with his weight transferring fully onto his front leg.
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5.9s |
Your Strokes: Barry Gaines Forehand (7 of 7)
Barry Gaines's forehand from the center of the baseline, filmed from a side CourtLevel angle. His follow-through finishes high across his body with his weight transferring onto his front foot before he quickly resets his non-hitting hand into a ready position.
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7.4s |
Your Strokes: Francis Tiafoe: Serve (7 of 7)
Francis Tiafoe's serve from a central baseline position, filmed from a side CourtLevel angle. His follow-through finishes with his torso fully rotated toward the court and his back leg swinging forward, helping him land inside the court and recover quickly toward a ready position.
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20.5s |
Your Strokes: Bryan Yeager One Handed Backhand (7 of 10)
Bryan Yeager's one-handed backhand from a neutral baseline position, filmed from a side CourtLevel angle. His eastern backhand grip is firm with a laid-back wrist, then the wrist extends through contact with a subtle upward snap to drive through the ball.
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6.4s |
The Forehand Followthrough: Extension and Rotation
John Yandell's forehand from a neutral position, filmed from a side CourtLevel angle. At contact his racket face is nearly square to the ball with a slightly closed angle and the strings brushing steeply up the back of the ball, indicating a strong low-to-high swing path.
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15.4s |
Your Strokes: Chris Thurstone Forehand (7 of 12)
Chris's forehand from a neutral court position, filmed from a side angle. At contact his racket face is slightly closed with the ball struck around waist height, and the racket head accelerates steeply upward along a low-to-high swing path.
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5.5s |
Your Strokes: Giancarlo Andreani: Two-Handed Backhand (7 of 7)
Giancarlo Andreani's two-handed backhand from a neutral baseline position, filmed from a court-level side angle. His shoulders rotate well past perpendicular to the net on the unit turn, then the trunk uncoils ahead of the arm swing so the racquet lags briefly behind the torso rotation.
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5.4s |
Your Strokes: John Daly: Serve Part 2 (7 of 13)
John Daly's serve from a central baseline position, filmed from a rear court-level angle. His feet load in a platform stance with a distinct knee bend, then the back foot drives up and into the court as he lands on his front foot and takes a couple of small recovery steps forward.
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8s |
Your Strokes: Sumner Chase Two-Handed Backhand (7 of 8)
Flash's two-handed backhand from the center of the baseline, filmed from a side CourtLevel angle. The racket face is nearly square to the ball at contact with the strike made around waist height, and the racket head accelerates upward on a steep low-to-high path into the finish.
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3.7s |
The Forehand Return of Serve Part 1: Compact Classical
John Yandell’s forehand cross-step movement to contact from the baseline, filmed from a side CourtLevel angle. The racket face is slightly closed at a contact point just in front of his lead hip, with the racket head accelerating upward on a steep low-to-high path.
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5.4s |
Your Strokes: Danielle Dotzenrod Forehand (7 of 9)
Danielle Dotzenrod's forehand from a neutral baseline position, filmed from a side angle. Her hips stay closed longer during the unit turn while her knees load deeply, then the rear leg drives forward to initiate hip rotation into contact.
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4.7s |
Novak Djokovic's Forehand: A New Synthesis
John Yandell’s forehand from the center of the court, filmed from a side CourtLevel angle. His follow-through wraps across his body with the non-hitting hand staying in front for balance before both hands settle into a compact ready position for recovery.
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3.9s |
Your Strokes: Danielle Dotzenrod: Forehand Evolution (7 of 7)
Danielle Dotzenrod's forehand from a central baseline position, filmed from a side CourtLevel angle. At contact the racket face is slightly closed with the ball struck just in front of her lead hip, and the windshield-wiper motion accelerates the racket head steeply across her body.
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3.5s |
Your Strokes: "Modern" Club Play: Fully Open Stance (7 of 10)
A player's forehand from a fully open stance in a baseline rally, filmed from a side court-level angle. The feet stay mostly parallel to the baseline with a wide base, and there is minimal weight transfer forward as the player rotates the hips and shoulders to drive the shot.
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4.4s |
Your Strokes: Param Srinivas: Straight Arm Forehand (8 of 10)
Param Srinivas's straight-arm forehand from the baseline, filmed from a side angle. His stance shifts from a neutral preparation into a more open position at contact, with a clear loading of the outside leg before driving through the shot.
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6.2s |
Your Strokes: Ryan Dickerson: Forehand (7 of 13)
Ryan Dickerson's forehand from a central baseline position, filmed from a side court-level angle. His wrap-around follow-through finishes high across his body while his weight transfers onto his front leg before he resets the racquet into a neutral ready position.
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10.2s |
The Serve and Swinging Volley: Next Revolution?
John Yandell’s forehand from the middle of the court, filmed from a side CourtLevel angle. His shoulders rotate well past 90 degrees in the unit turn, then uncoil ahead of the hips so the trunk rotation clearly leads the arm swing through contact.
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6s |
The Serve and Swinging Volley: Next Revolution?
John Yandell’s forehand from the center of the court, filmed from a side CourtLevel angle. His semi-western grip and relaxed hand position create a pronounced wrist lag on the forward swing that unwinds into a controlled, late wrist snap through contact.
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6s |
The Serve and Swinging Volley: Next Revolution?
John Yandell’s forehand from the middle of the court, filmed from a side CourtLevel angle. His shoulders turn well past 90 degrees relative to the baseline, creating a pronounced trunk coil that then uncoils sequentially from hips to shoulders before the arm accelerates forward.
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6s |
The Serve and Swinging Volley: Next Revolution?
John Yandell’s forehand from a neutral baseline position, filmed from a side CourtLevel angle. His hips load with a noticeable coil against a deep knee bend, then uncoil as the legs drive up and forward into contact.
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9s |
The Modern Pro Slice: Part 1
Roger Federer's forehand from the middle of the court, filmed from a side angle. His footwork includes a small adjustment hop into a neutral stance, followed by a controlled front-leg pivot that lets him step through the court after contact.
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The Serve and Swinging Volley: Next Revolution? (7 of 30)
John Yandell’s strategic movement and positioning are analyzed from a CourtLevel angle. His split-step timing into a semi-open stance and the adjustment steps he uses to line up the swinging volley are clearly visible from this view.
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9s |
Your Strokes: Allan Murphy Forehand (7 of 7)
Federer's forehand from the center of the baseline, filmed from a side CourtLevel angle. His racket extends fully out toward the target with a slightly closed face at contact, struck just in front of his body at roughly shoulder height before wrapping around with pronounced forearm rotation.
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5.9s |
How Roger Federer Won the US Open (7 of 7)
John Yandell’s strategic analysis segment on Federer’s patterns, filmed from a CourtLevel angle. His breakdown emphasizes how Federer’s hip rotation and leg drive work together, with clear views of the deep knee bend before push-off that sets up aggressive court positioning.
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3.7s |
Hand and Arm Rotation
John Yandell's forehand high ball from the center of the court, filmed from a rear angle. His footwork includes a small adjustment hop into an open stance, followed by a controlled pivot and recovery step back toward the middle after contact.
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8.8s |
Your Strokes: Alex Mikhailov One-Handed Backhand (7 of 8)
Federer's forehand from a neutral position, filmed from an animated side angle. The animation emphasizes his semi-western grip and the pronounced windshield-wiper wrist pronation that continues well after contact.
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8.7s |
Don Budge's Forehand: Good Enough for You?
John Yandell’s forehand from the middle of the court, filmed from a side angle. His follow-through finishes high with the racquet wrapping across his body while his weight transfers onto his front foot, bringing him smoothly back toward a neutral ready position.
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3.3s |
February 2009 Issue
Kyle Doppelt's serve from a central baseline position, filmed from a side CourtLevel angle. His shoulders reach a full turn with the tossing arm up while the trunk stays coiled, then uncoils in sequence from hips to shoulders into the contact point.
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4.4s |
February 2009 Issue
Federer's forehand from the Deuce side, filmed from a CourtLevel side angle. The racket meets the ball slightly in front of his body with a closed racket face and a steep low-to-high swing path that accelerates the racket head through contact.
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4.4s |
The Two-Handed Backhand: The Forward Swing
John Yandell's forehand from a neutral position, filmed from a side CourtLevel angle. His shoulders and trunk are visibly coiled well past 90 degrees in the unit turn, then uncoil in sequence with the hips leading and the upper torso lagging slightly into contact.
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3.8s |
Two "Modern" Forehands
John Yandell’s forward swing sequence animation from a neutral baseline position, filmed from a side angle. The series clearly illustrates the progressive shoulder rotation and trunk uncoiling from a fully coiled position into contact, emphasizing how the upper body leads and links into the rest of the kinetic chain.
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9s |
The One Handed Topspin Backhand Part 1
John Yandell’s groundstroke from the baseline, filmed from a rear court-level angle. His carefully timed split step into a semi-open stance is followed by compact adjustment steps that align his body precisely behind the incoming ball.
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14.2s |
One Handed Backhand Part 4: The Forward Swing
John Yandell's forehand from a neutral court position, filmed from a side CourtLevel angle. His hips load with a clear coil against a flexed back knee, then uncoil as the rear leg drives forward to initiate rotation into contact.
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4.4s |
John Yandell: Forehand Volley
John Yandell’s forehand forward swing from the center of the court, filmed from a side angle. His stance stays mostly neutral as he drives forward, with a small adjustment step into the ball followed by a short recovery step that brings his weight back to a balanced position.
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7.1s |
Andy Roddick's Two-Handed Backhand
John Yandell’s forehand from the center of the court, filmed from a court-level side angle. His compact split step into a semi-open stance leads into a quick pivot on the outside foot, followed by small adjustment steps that position his body so the hitting shoulder rotates through while he maintains a stable base.
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5.4s |
Your Strokes: Evan Chiang Serve (7 of 20)
Evan Chiang's serve from a central baseline position, filmed from a rear court-level angle. His deep knee bend and strong upward leg drive are clearly visible as his hips stay closed during the high toss before uncoiling into contact.
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5.1s |
The Modern Pro Slice: Part 2
John Yandell’s hitting arm animation, filmed from a side angle, breaks down the forehand swing path in detail. The sequence makes the progressive wrist lag and subsequent pronation at contact easy to see, including how the racquet head trails the hand before releasing through the ball.
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7.8s |
Stan Wawrinka's Backhand (6 of 11)
John Yandell's forehand from the middle of the court, filmed from a side CourtLevel angle. At contact the racket face is slightly closed with the ball struck around waist height, and the racket head accelerates steeply upward along the swing path to emphasize rotational body mechanics.
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6.6s |
The Myth of the Recovery Step: Forehand
John Yandell’s forehand from the middle of the court, filmed from an animated side view. At contact, the racket face is slightly closed with the strings brushing up the back of the ball, and the contact point is just in front of his lead hip with the racket head accelerating steeply along an upward swing path.
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13.1s |
Your Strokes: Jacky Duchamp Forehand (7 of 9)
Jacky Duchamp's forehand from a neutral position, filmed from a side court-level angle. The racket meets the ball slightly in front of the lead hip with a closed racket face and a low-to-high swing path that accelerates through contact.
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6.7s |
Your Strokes: Paulo Caneiro: Forehand (7 of 7)
Paulo Caneiro's forehand from a central baseline position, filmed from a side CourtLevel angle. At contact his racket face is slightly closed with the ball struck just in front of his lead hip and around waist height, and the racket head accelerates steeply upward along a low-to-high path.
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4.6s |
Your Strokes: Jonathan Ryle Serve
Jonathan’s stroke rotation sequence from a neutral central position, filmed from a side animation angle. The animation clearly illustrates the racket staying on-edge through the slot position before the strings turn to the ball just before contact.
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6.6s |
The Two-Handed Backhand: Hand and Arm Rotation
John Yandell’s forehand from the center of the baseline, filmed from a rear court-level angle. His early split-step into a wide open stance followed by a quick hip and shoulder rotation is clearly visible before he drives through the ball and takes small recovery steps back toward the middle.
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11.3s |
Your Strokes: Kevin Patrick: Forehand (7 of 8)
Kevin Patrick's forehand from a central court position, filmed from a side angle. His hips rotate aggressively into the ball as his knees drive upward from a deep bend, showing a strong upward leg drive through contact.
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4.2s |
Why Rafa Crushed Roger at the French 2007 (7 of 11)
John Yandell's kick serve from a central baseline position, filmed from a rear court-level angle. His deep knee bend and upward leg drive into contact are clearly visible, along with the hips remaining relatively closed to the net as he launches up and out into the court.
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7.2s |
The Pro Slice and Your Slice
John Yandell’s forehand from the middle of the court, filmed from a side angle. The contact point is clearly in front of his body with the racket face slightly closed and the racket head accelerating upward along a steep low-to-high swing path.
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6.1s |
Tour Strokes: Dominic Thiem Second Serve (7 of 7)
John Yandell’s second serve motion from a neutral stance in the deuce court, filmed from a side angle. His continental grip is clearly visible with a loose hand position, and the side view makes the upward wrist pronation and snap through contact easy to see frame by frame.
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14.4s |
Novak Djokovic's Forehand: The Full Turn and the Backswing
John Yandell’s forehand from a later coil position, filmed from a side angle. His feet stay grounded a fraction longer before uncoiling, with a clear open-stance base that lets his hips and shoulders wind up later in the unit turn.
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7.4s |
Pete Sampras: New Filming Protocols, Classic Motions
John Yandell’s leg and footwork animation is shown from a side composite angle. The sequence clearly illustrates his deep knee flexion on loading and the progressive hip drive forward as he pushes explosively off the ground.
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11.1s |
Mysteries of the Heavy Ball:Practical Serving Implications (7 of 10)
John Yandell's serve from the deuce side, filmed from a rear court-level angle. His shoulders rotate well past sideways in the trophy phase, then uncoil ahead of the trunk to start an upward kinetic chain that clearly sequences into the arm swing.
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16.7s |
John Yandell: Sampras Serve: Hip and Shoulder Rotation
John Yandell’s forehand from the center of the court, filmed from a rear court-level angle. His footwork features a well-timed split step into an open stance, followed by a controlled pivot and recovery step that keep him balanced on the baseline.
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4.1s |
Your Strokes: Phil Picuri Serve (7 of 8)
Phil Picuri's serve from a central baseline position, filmed from a rear court-level angle. His feet set in a platform stance with a pronounced knee bend before driving up, and you can see a small adjustment step with the front foot as he initiates the trophy position.
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11s |
Technical Flaws in ProTwo Handers: Milos Raonic (7 of 8)
John Yandell’s two-handed backhand from the baseline, filmed from a rear court-level angle. His relatively firm, conservative wrist position on both hands is visible, with minimal wrist lag and a slightly locked hitting wrist structure through contact.
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3.6s |
Mental Imagery: Synthesizing the Physical and Mental Games (7 of 10)
John Yandell's animation of key movement patterns in the stroke sequence, filmed from a composite instructional angle. The frames make the progressive wrist lag and subsequent controlled pronation easy to see as the racquet moves from preparation into and through contact.
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3.8s |
Rafael Nadal's Forehand
John Yandell’s BH from the center of the baseline, filmed from a rear CourtLevel angle. His follow-through wraps high over the shoulder while his non-hitting hand stays back for balance before he returns to a compact ready position.
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8.4s |
John Yandell: The Easter Bowl 2007 (7 of 8)
John Yandell’s net play volley from the center of the court, filmed from a court-level front angle. His compact adjustment steps into the ball create a stable neutral stance with a slight forward lean, followed by a small recovery step to re-center near the net.
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5.1s |
Novak Djokovic's Forehand: The Forward Swing
John Yandell's neutral stance groundstroke from the center of the court, filmed from a side angle. His shoulders and trunk load into a deep coil with the non-hitting arm counterbalancing, then uncoil in a clearly sequenced rotation that precedes the arm and racquet.
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3.9s |
Two Handed Backhand Stances in Women's Pro Tennis
John Yandell’s neutral-stance forehand from a central baseline position, filmed from a court-level side angle. His hips stay relatively closed as he loads, with a clear knee bend and forward leg drive into the court before his rear hip rotates through the shot.
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7.5s |
Your Strokes: Norman Ashbrooke Serve (6 of 10)
Norman Ashbrooke's serve from a neutral stance, filmed from a rear court-level angle. At contact, the racket face is slightly closed with the ball struck just above full extension, and the racket head accelerates steeply upward along the right side of his body.
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8s |
Further Thoughts: The Serve (7 of 20)
John Yandell’s serve from the center of the baseline, filmed from a CourtLevel rear angle. After contact his hitting arm extends fully toward the target while his back leg swings forward into the court, bringing him into a balanced, square-on ready position for the next shot.
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7s |
Serena's Serve and Venus's Two-Hander (7 of 7)
John Yandell's forehand from the center of the court, filmed from a side angle. His open stance is clear as he plants his outside foot first, then rotates his hips and shoulders into contact while keeping his base wide and stable.
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8.2s |
The Pro Return: The One Handed Backhand Drive
John Yandell’s movement and positioning sequence from a neutral court position, filmed from a CourtLevel angle. His small adjustment steps into a stable, neutral stance illustrate how he organizes his feet before initiating the stroke movement.
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5.6s |
John Yandell: Your Strokes: Paul Goldstein's Serve (7 of 9)
Paul Goldstein's serve from a central baseline position, filmed from a rear court-level angle. After contact he lets his hitting arm decelerate across his body while his back leg swings forward into the court, bringing him into a balanced, square-on ready position for the next shot.
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8.3s |
John Yandell: Classical Tennis and Modern Tennis
John Yandell’s animation sequence of multiple forehands and backhands from a central baseline position, filmed from a side CourtLevel angle. His footwork pattern clearly alternates between open and neutral stances, with distinct split-steps and adjustment steps synced to each incoming ball in the animation.
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7.4s |
Roger's Revenge: Wimbledon 2007 (7 of 15)
John Yandell's forehands from the center baseline, filmed from a court-level rear angle. His footwork features a well-timed split step into quick adjustment hops, setting up a solid semi-open stance before each swing.
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6.9s |
Three Secrets for Destroying Pushers (7 of 16)
John Yandell’s serve-and-volley point starting from the baseline and moving forward into the court, filmed from a rear court-level angle. His deep knee bend on the serve load and strong forward leg drive into the court are clearly visible, with the hips driving through and continuing in a forward-running motion toward the net.
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8.8s |
John Yandell: Backhand Volley
John Yandell's forehand punch volley from the forecourt, filmed from a side CourtLevel angle. The racket face is slightly open at contact with the ball struck just in front of his leading hip, and the compact forward punch creates a short, firm path with minimal backswing.
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5.6s |
The Myth of Lag and Snap
John Yandell's forehand from the center of the court, filmed from a rear angle. His hips load with a pronounced coil against a wide, flexed base, then uncoil as his legs drive upward and forward, with the rear hip clearly rotating through as the back heel lifts off the court.
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14.1s |
The Framework: An Introduction
John Yandell’s forehand from the middle of the court, filmed from a side CourtLevel angle. The racket face is slightly closed at contact with the ball struck just in front of his lead hip and around waist height, and the racket head accelerates steeply upward along the swing path.
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6.2s |
Roger Federer: Serve Part 2
John Yandell’s serve from the deuce side, filmed from a rear court-level angle. His footwork includes a pronounced platform stance with minimal foot movement during the toss, followed by a clear forward drive onto the front foot as he launches into the court.
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22.3s |
Grip Structures in the Modern Forehand Part 2
John Yandell’s forehand from a neutral position in the middle of the court, filmed from a super high rear angle. His hips stay relatively closed during the unit turn, with a pronounced knee bend and upward leg drive that is easy to see as he loads and then extends into the ball.
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5.4s |
The Wimbledon Final 2008: A Different Story? (7 of 22)
John Yandell's forehand from the center of the baseline, filmed from a side CourtLevel angle. At contact the racket face is slightly closed with the ball struck just in front of his lead hip at roughly waist height, and the racket head accelerates steeply upward along a modern windshield-wiper path.
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4.3s |
The One-Handed Backhand: Stances
John Yandell's forehand from the center of the court, filmed from a side angle. His stance transitions from a semi-open loading position into contact with a clear hip and shoulder rotation sequence before the front foot releases into recovery.
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11.2s |
Your Strokes: Sai Serve (7 of 9)
Sai’s serve from the center of the baseline, filmed from a rear court-level angle. The wrist pronation into contact is clear, with a loose continental grip that lets the racquet head whip through the ball.
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7.9s |
Your Strokes: "Shroud" Forehand (7 of 11)
Player's forehand from the center of the baseline, filmed from a rear animation angle. The hips visibly wrap around the body with pronounced internal rotation as the legs drive up from a deep knee bend into contact.
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5.9s |
The Forehand Return of Serve Part 2: Extreme Grips
John Yandell's split step at the baseline, filmed from a side angle. His shoulders and trunk stay relatively square but you can see a brief, subtle trunk preload and quick uncoil that syncs the torso with the leg drive as he lands and pushes off.
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9.8s |
Novak Djokovic's Forehand: The Unit Turn
John Yandell’s split-step and unit turn movement sequence from the center of the court, filmed from a side CourtLevel angle. The video makes the neutral, relaxed grip and minimal early wrist involvement clear, with the racquet hand staying quiet and the wrist firm as the shoulders and hips initiate the turn.
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7.2s |
Your Strokes: Gavin Rossdale Forehand (7 of 7)
Gavin Rossdale's forehand from a neutral stance, filmed from a side court-level angle. His hips stay relatively closed through the loading phase with a noticeable knee bend, then uncoil with a strong upward leg drive into contact.
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4.5s |
Modern Tennis: Where Are We Now? The Forehand Part 2
John Yandell’s forehand swing shape from a neutral baseline position, filmed from a side angle. His hips and legs load with a pronounced knee bend and then extend upward and forward in sync with the hip uncoil, clearly linking lower-body drive to the upward racket path.
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10.7s |
Your Strokes: Ted Gregory: One Handed Backhand (7 of 8)
Ted Gregory's one-handed backhand from a neutral court position, filmed from a side angle. His deep knee bend and strong rear-leg drive into the shot are clearly visible as his hips rotate through contact.
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8.5s |
The Stringbed and Pro Contact
John Yandell’s animation of the racket throat position at contact, filmed from a neutral graphic angle. The sequence emphasizes the racket face angle and throat alignment at impact, making it easy to see how the racket face stays stable through the contact zone.
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3.8s |
Your Strokes: TLM's Extreme Grip Forehand (7 of 16)
TLM's forehand from a neutral baseline position, filmed from a top-level animation angle. The shoulder line turns well past perpendicular to the net, with a pronounced trunk coil that uncoils in sync with the forward rotation of the hips.
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3.6s |
John Yandell: The One Handed Pro Backhand: Part 3
John Yandell’s stroke from the center of the baseline, filmed from a side CourtLevel angle. His footwork pattern into the ball uses small adjustment steps to set a stable neutral stance, with a clear weight transfer from the back foot to the front foot as the swing unfolds.
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7.6s |
Components of Match Play: Tactics and Patterns
John Yandell’s serve from a central baseline position, filmed from an animated multi-angle composite. The animation makes it easy to see his deep knee bend and upward leg drive coordinating with hip rotation into contact.
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8.3s |
John Yandell: The Forehand: Where Are We Now?
John Yandell’s forehand unit turn sequence from a neutral position, filmed from a side angle. His follow-through brings the racquet across his body while his non-hitting hand extends back for counterbalance, and he quickly returns the racquet to a ready position in front of his torso.
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16.8s |
The One Handed Topspin Backhand Part 2
John Yandell's movement and footwork patterns in the neutral court position, filmed from a court-level side angle. His racket stays in a relaxed ready position with the head slightly above the hands, making it easy to adjust the contact point quickly as he moves into each hitting stance.
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22.3s |
Your Strokes: Paul Goldstein: Serve Part 2 (7 of 8)
Paul Goldstein's serve from the baseline, filmed from a side CourtLevel angle. His shoulders rotate well past 90 degrees relative to the net before uncoiling, with the trunk initiating the upward motion and leading the arm into the hitting phase in a clear kinetic chain sequence.
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6.1s |
Wimbledon Journal (7 of 8)
John Yandell’s forehand from the deuce side, filmed from a court-level side angle. The contact point is slightly in front of his lead hip with the racket face just a bit closed, and the racket head accelerates on a low-to-high path that finishes around shoulder height.
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10.8s |
Your Strokes: Todd Haydon Serve (7 of 13)
Todd Haydon’s serve from a stationary demonstration position, filmed from a side animation angle. His hips and legs cycle through a pronounced knee bend and upward leg drive, with the hips rotating from a coiled position into full extension to illustrate the windmill motion.
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5.6s |
The Forehand Volley Variations
John Yandell’s forehand from the center of the court, filmed from a side CourtLevel angle. His stance shifts from a neutral to slightly open position as he plants his outside foot, with a compact adjustment step just before contact to align his hips and shoulders.
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7.9s |
Your Strokes: Shooter McMarco: Backhand (7 of 7)
Federer's one-handed backhand from a neutral baseline position, filmed from a side court-level angle. His eastern backhand grip is evident in the firm but relaxed wrist set, with a clear wrist lag on the take-back that smoothly unwinds into a stable, slightly laid-back wrist at contact.
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4.4s |
Your Strokes: Andy Plunkett: 1-Handed Backhand (7 of 8)
Andy Plunkett's one-handed backhand from an open stance, filmed from a court-level side angle. At contact his racket face is slightly closed with the ball meeting the strings around waist height, and the racket head accelerates forward and up along a steep low-to-high path.
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3.9s |
Your Strokes: Mike Widell Forehand (7 of 8)
Mike Widell's forehand from the center of the baseline, filmed from a side CourtLevel angle. The racket face is slightly closed at a contact point around waist height, with a steep low-to-high swing path leading into a pronounced vertical finish.
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3.6s |
Understanding Andy Roddick's Serve Part 2
John Yandell's serve windup from a central baseline position, filmed from a rear CourtLevel angle. His hips stay relatively closed to the net as his knees bend deeply, loading the legs before driving upward into the trophy position.
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5.2s |
The Upward Swing: Federer's Serve in High Speed and High Def
John Yandell’s forehand from the middle of the court, filmed from a rear CourtLevel angle. His footwork includes a well-timed split-step into a quick adjustment hop, settling into a semi-open stance before driving through the shot and recovering toward the center.
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4.6s |
True Alignment: The One Handed Backhand
John Yandell’s animation sequence of advanced stroke mechanics is presented from a composite, multi-angle court view. The contact point is isolated frame-by-frame, clearly showing the racket face angle and exact impact position relative to the player’s body throughout the motion.
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10.9s |
True Alignment: The One Handed Backhand
John Yandell’s forehand from the center of the court, filmed from a court-level angle. His follow-through finishes high with the racquet wrapping across his body while his non-hitting hand retracts toward his torso, helping him recover quickly back into a neutral ready position.
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14s |
The Myth of the Magic Bullet
John Yandell’s forehand from the center of the baseline, filmed from a side CourtLevel angle. His semi-western grip is clear as his wrist stays laid back through the forward swing, then releases into a subtle pronation right after contact.
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4.9s |
True Alignment: The One Handed Backhand
John Yandell’s forehand from the center of the baseline, filmed from a side CourtLevel angle. His hips load by turning sideways with a deep knee bend, then uncoil as his legs drive upward and forward into contact.
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3.3s |
True Alignment: The One Handed Backhand
John Yandell’s forehand from the center of the court, filmed from a side angle. His hips load by turning well ahead of the racket drop, with a deep knee bend and strong leg drive forward that straightens through contact.
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94.2s |
True Alignment: The One Handed Backhand
John Yandell’s forehand from the center of the court, filmed from a side CourtLevel angle. His semi-western grip and relaxed wrist lag are clearly visible as the racquet head trails the hand before pronating through contact.
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14.9s |
Your Strokes: Andy Roddick's Backhand (7 of 9)
Player’s backhand from the baseline, filmed from a side court-level angle. The racket starts with a noticeably bent hitting arm and straightens through contact, with the strings meeting the ball slightly in front of the lead hip.
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5.5s |
Your Strokes: Danielle Dotzenrod Two-Handed Backhand
Pro model forehand start of swing from the center of the baseline, filmed from a side angle. The racket head lags behind the hand with a slightly closed face as it drops below the level of the incoming ball to prepare for an upward swing path.
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The Two-Handed Backhand: The Hitting Stances
John Yandell's two-handed backhand from a central baseline position, filmed from a rear court-level angle. His footwork features a compact adjustment step into a neutral stance, with the back foot anchoring as the hips and torso rotate through the shot.
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17.6s |
Your Strokes: Mike Widell Forehand (8 of 8)
Mike Widell's forehand from the center of the court, filmed from a rear angle. His hips rotate aggressively toward the net as his legs drive up from a deep knee bend, with the back heel lifting to allow full hip turn through contact.
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5.4s |
Andy Roddick's Two-Handed Backhand
John Yandell’s forehand from a central baseline position, filmed from a rear CourtLevel angle. His shoulders rotate well past 90 degrees relative to the net before uncoiling in sync with the trunk, making the sequential opening of hips, torso, and shoulders easy to distinguish.
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19.2s |
Andy Murray and the Open Stance Forehand
John Yandell’s forehand from the deuce side, filmed from a semi-rear angle. His hips load in a strong closed position with a pronounced knee bend, then unwind as his legs drive up and forward into contact.
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6.1s |
Measuring Racket Head Speed: A New Study of the Sampras Serve
John Yandell’s serve arm drop to the power position from a neutral stance, filmed from a side angle. His hitting arm settles into a deep “L” with the non-hitting hand staying up longer before folding into the torso, helping him load his weight on the back leg before driving up and into the court.
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7.3s |
Three Secrets for Destroying Pushers (8 of 16)
John Yandell's baseline attacking pattern from a neutral backcourt position, filmed from a rear angle. His split-step precedes a quick adjustment shuffle into a strong neutral stance, followed by decisive recovery steps that re-establish optimal court positioning after the attack.
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12s |
Two Handed Backhand Stances in Women's Pro Tennis
John Yandell’s neutral-stance forehand from the center of the court, filmed from a court-level side angle. His semi-western grip is paired with a pronounced wrist lag on the forward swing, with the wrist staying laid back until just before contact.
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14.4s |
The Pro Return: The One Handed Backhand Drive
John Yandell's forehand backswing animation from a neutral position, filmed from a side angle. His follow-through recovery into a ready position is clearly visible as his hitting arm decelerates across his body while his non-hitting hand returns to the front of his torso to prepare for the next shot.
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10.8s |
John Yandell: Backhand Volley
John Yandell's forehand backswing sequence from a neutral baseline position, filmed from a court-level side angle. His semi-western forehand grip and the way his wrist sets into a laid-back position during the unit turn are clearly visible as the racquet moves into the slot.
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16.5s |
Rafael Nadal's Forehand
John Yandell's BH from the center of the baseline, filmed from a rear CourtLevel angle. The video isolates the backswing phase, with particular focus on how the racket face angle is set relative to the ball’s expected contact point to shape the subsequent swing path.
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19.6s |
Further Thoughts: The Serve (8 of 20)
John Yandell’s serve from a central baseline position, filmed from a rear CourtLevel angle. At contact his racket face is slightly closed with the strings brushing up and across the ball, and the contact point is clearly above his outstretched hitting shoulder with a steep upward swing path.
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13.2s |
John Yandell: Del Potro's Forehand Analyzed (8 of 14)
John Yandell's forehand body turn sequence from the center of the baseline, filmed from a side CourtLevel angle. His footwork emphasizes an early unit turn into a neutral stance, with the outside foot planting first and the back foot stepping up to complete the shoulder and hip rotation before the forward swing.
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13.7s |
Your Strokes: Larry Landsman: Slice Backhand (8 of 18)
Larry Budge's backhand slice from a neutral court position, filmed from a side angle. His shoulders turn well past 90 degrees relative to the baseline, with a pronounced trunk coil that uncoils smoothly from hips to shoulders through contact.
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4.3s |
Modern Tennis: Where Are We Now? The Forehand Part 2
John Yandell’s forehand from a neutral position, filmed from a side CourtLevel angle. His hips load by turning sideways with a deep knee bend, then uncoil as the rear leg drives forward to initiate rotation into contact.
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12.3s |
The Extreme Closed Stance: Two Handed Backhand Norm?
John Yandell’s contact point animation from a neutral court position, filmed from a side angle. The sequence compares multiple strokes with a focus on racket face angle at impact and how the contact point shifts slightly forward or back relative to his body line.
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13.3s |
One Handed Backhand Part 4: The Forward Swing
John Yandell’s neutral court position movement is filmed from a CourtLevel Side angle. His relatively relaxed continental grip combines with a firm but not rigid wrist, with minimal wrist deviation as he prepares and moves into the hitting zone.
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4.7s |
Technical Flaws in ProTwo Handers: Milos Raonic (8 of 8)
John Yandell’s two-handed backhand from a neutral baseline position, filmed from a side CourtLevel angle. His shoulders rotate well past 90 degrees relative to the net on the unit turn, then uncoil in sequence with the trunk leading the racket path into contact.
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16.3s |
The Stringbed and Pro Contact
John Yandell’s forehand from the center of the court, filmed from a rear court-level angle. His follow-through wraps fully across his body with the non-hitting hand counterbalancing behind him before he recovers back into a compact ready position.
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3.1s |
Your Strokes: "Modern" Club Play: Fully Open Stance (8 of 10)
Djokovic's neutral-stance groundstroke from the center of the court, filmed from a side angle. His hips stay relatively closed at the start of the swing with a pronounced knee bend, then open late as his legs drive up and forward through contact.
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7.1s |
Tomas Berdych's Forehand (8 of 16)
John Yandell's forehand from a neutral position, filmed from a side angle. His shoulders rotate well past 90 degrees in the unit turn, then uncoil ahead of the hips so the trunk leads the arm into contact with a distinct double-bend shape in the hitting arm.
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5s |
Novak Djokovic's Forehand: The Unit Turn
John Yandell’s drop step movement from a neutral baseline position, filmed from a side angle. His shoulders and trunk clearly rotate as a unit during the initial coil, then uncoil sequentially from the hips upward, making the timing of shoulder turn and trunk release easy to distinguish frame by frame.
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5.2s |
Your Strokes: Evan Chiang Serve (8 of 20)
Evan Chiang's serve from a central baseline position, filmed from a rear court-level angle. After contact, he lands on his front foot with his non-hitting arm dropping naturally as he recoils into a balanced ready position for the next shot.
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3.8s |
Two "Modern" Forehands
John Yandell's forehand extension animation from a neutral baseline position, filmed from a side angle. His follow-through finishes high with the racquet well out in front while his non-hitting hand stays back for counterbalance, and he recovers into a compact ready position with weight settled on his front foot.
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10.9s |
The Forehand Followthrough: Extension and Rotation
John Yandell’s forehand from a central baseline position, filmed from a side CourtLevel angle. The video makes it easy to see the racket face staying square through contact with the ball struck slightly in front of his lead hip, emphasizing extension without additional forearm rotation.
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9.1s |
The Forehand Volley Variations
John Yandell's forehand from the center of the court, filmed from a rear court-level angle. After contact his follow-through wraps across his body while his non-hitting hand extends back for counterbalance, and he quickly returns the racquet to a neutral ready position with his weight settling on his front foot.
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5.8s |
Your Strokes: Alex Mikhailov One-Handed Backhand (8 of 8)
Federer's forehand drive from the center of the baseline, filmed from a side angle. His footwork features a small adjustment hop into an open stance, followed by a pronounced right-leg pivot and controlled recovery step back to a neutral position.
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4.6s |
The One Handed Topspin Backhand Part 1
John Yandell’s stroke from the baseline, filmed from a rear court-level angle. His footwork includes a well-timed split step into a quick adjustment shuffle, setting up a solid neutral stance before driving into the ball.
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16.9s |
Novak Djokovic's Forehand: A New Synthesis
John Yandell’s forehand grip animation from the center of the baseline, filmed from a side angle. His semi-western grip and laid-back wrist position are clearly visible, emphasizing the degree of wrist lag he maintains before uncoiling into contact.
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4.4s |
Hand and Arm Rotation
John Yandell’s forehand on a low ball from the Deuce side, filmed from a CourtLevel rear angle. His deep knee flex and lowered hip line are clearly visible as he sinks into the court before driving upward with the legs through contact.
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4.2s |
Your Strokes: Jonathan Ryle Serve
Federer's forehand from a neutral position, filmed from a side angle. His torso unwinds fully toward the court with the non-hitting arm retracting back, and he quickly regains a square, athletic stance ready for the next shot.
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6.4s |
Don Budge's Forehand: Good Enough for You?
John Yandell’s forehand finishes from a neutral baseline position, filmed from a court-level side angle. His shoulders and trunk can be seen uncoiling from a deep coil into a more squared position after contact, with the degree of shoulder turn differing subtly across the various finish patterns.
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7.6s |
Novak Djokovic's Forehand: The Forward Swing
John Yandell’s one-handed backhand from a neutral baseline position, filmed from a rear court-level angle. His shoulders rotate well past 90 degrees relative to the net on the unit turn, then the trunk uncoils ahead of the arm swing so the hitting shoulder leads the racket through contact.
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6.9s |
Stan Wawrinka's Backhand (8 of 11)
John Yandell's one-handed backhand follow-through sequence from a neutral court position, filmed from a side CourtLevel angle. His extended hitting arm and relaxed non-hitting arm move together as his weight transfers fully onto the front foot, finishing in a balanced, ready stance for recovery.
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11.8s |
The Forehand Return of Serve Part 1: Compact Classical
John Yandell’s forward swing animation on the forehand side, filmed from a side animation view. His footwork pattern is static here, making it easy to see how an open-stance base supports the sequential weight shift and hip rotation through the forward swing.
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6.5s |
The Forehand Return of Serve Part 1: Compact Classical
John Yandell's forward swing animation on the forehand side, filmed from a CourtLevel side angle. The sequence makes it easy to see the racket face staying slightly closed through contact with the ball struck around waist height, while the racket head accelerates forward and up along a clear low-to-high path.
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5.9s |
John Yandell: The Forehand: Where Are We Now?
John Yandell’s full-turn forehand from a neutral baseline position, filmed from a CourtLevel Side angle. His shoulders coil well past 90 degrees relative to the net before uncoiling, with the trunk rotation clearly leading the arm swing in a sequenced kinetic chain.
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14.2s |
The One Handed Topspin Backhand Part 2
John Yandell's forehand unit turn from the center of the court, filmed from a side angle. His follow-through finishes high with the racquet wrapping across his body while his non-hitting hand stays back to help his upper body unwind and return to a balanced ready position.
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4.4s |
The Myth of Lag and Snap
John Yandell’s forehand from the center of the court, filmed from a side angle. His footwork features a well-timed split step into a semi-open stance, with a clear weight transfer from the back leg to the front as he rotates into the shot.
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6.4s |
Your Strokes: Amber Park Forehand (8 of 10)
Henin's forehand from the center of the baseline, filmed from a side angle. Her forward weight transfer is clear as she steps into the court and finishes with the racket high across her body before resetting to a ready position.
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5.7s |
Your Strokes: Phil Picuri Serve (8 of 8)
Phil Picuri's serve from a central baseline position, filmed from a rear court-level angle. His rhythmic footwork into the pinpoint stance is clear, with the back foot drawing up to the front foot before an aggressive upward drive off both legs into the court.
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7.3s |
Your Strokes: Vin Miller: Serve (8 of 10)
Vin Miller’s serve from a stationary, upright position, filmed from a side court-level angle. His continental grip is clearly visible with a relaxed hand on the handle while the wrist stays loose, allowing a distinct lag of the racket head against his leg before moving into the serving motion.
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4.8s |
Your Strokes: Kevin Patrick: Forehand (8 of 8)
Kevin's forehand from a neutral court position, filmed from a side angle. His semi-western grip is clear, with noticeable wrist lag on the forward swing that unwinds into a controlled pronation through contact.
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10.2s |
Your Strokes: Norman Ashbrooke Serve (8 of 10)
Norman Ashbrooke's kick serve from a central baseline position, filmed from a rear court-level angle. His footwork features a pronounced knee bend and upward drive off both legs into a platform stance, with a clear left-foot pivot as he lands and recovers into the court.
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4.5s |
The Lesson Process: The Serve: Part 2 (8 of 17)
Kerry Mitchell’s serve teaching animation focused on knee bend, filmed from a side angle. The animation emphasizes how a relaxed continental grip is maintained while the wrist stays loose, creating a clear lag position before pronation into contact.
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2.7s |
Tennisplayer Approaches 20! (9 of 13)
John Yandell’s movement patterns during an approach sequence from mid-court, filmed from a court-level side angle. His footwork includes a pronounced split step into compact adjustment steps, finishing in a neutral stance before contact to stabilize his upper body for analysis.
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18.3s |
The Forehand Return of Serve Part 2: Extreme Grips
John Yandell’s FH from the deuce side, filmed from a court-level side angle. His shoulders coil well past 90 degrees relative to the baseline before uncoiling in sync with the trunk rotation, clearly illustrating the sequencing from hip turn to upper torso release.
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11.7s |
The One-Handed Backhand: Stances
John Yandell’s movement and stroke action from a neutral court position, filmed from a side CourtLevel angle. His shoulders and trunk exhibit a clearly sequenced coil and uncoil, with the upper body rotating as a unit over a stable lower base before the shoulders continue turning past the hips in the forward phase.
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17.4s |
The Two-Handed Backhand: Hand and Arm Rotation
John Yandell’s forehand from the center of the court, filmed from a rear court-level angle. His hips rotate only partially while his knees stay flexed, making the limited hip turn and leg drive easy to compare with a more fully rotated forehand.
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17.5s |
Your Strokes: TLM's Extreme Grip Forehand (8 of 16)
Nadal's forehand at the ball bounce from a neutral baseline position, filmed from a side animation angle. The racket is already laid back with a closed face as the ball drops, emphasizing how low the strings get below the ball before driving up on a steep, windshield-wiper swing path.
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5s |
Your Strokes: Jacky Duchamp Forehand (8 of 9)
Nadal's forehand from the center of the court, filmed from a rear court-level angle. His footwork includes a small adjustment hop into an open stance, followed by a pronounced recovery step that quickly brings him back toward the middle after the swing.
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4.2s |
Hitting Stances in the Modern Forehand
John Yandell's neutral stance groundstroke from the center of the court, filmed from a rear court-level angle. His follow-through wraps fully across his body while his non-hitting hand extends back for balance before he recovers into a compact ready position with weight centered on the balls of his feet.
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7.1s |
The Two-Handed Backhand: Preparation and Backswing
John Yandell’s forehand from the center of the court, filmed from a rear court-level angle. His hips stay relatively closed during the unit turn, then uncoil as his legs drive up from a deep knee bend into contact.
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10.4s |
Your Strokes: Paul Goldstein: Serve Part 2 (8 of 8)
Paul Goldstein's serve from a central baseline position, filmed from a rear court-level angle. His hips load with a pronounced knee bend, and you can see his back leg driving up into the court as his hips uncoil toward the net.
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5.5s |
Your Strokes: Param Srinivas: Straight Arm Forehand (9 of 10)
Param Srinivas's straight-arm forehand from a neutral baseline position, filmed from a side CourtLevel angle. His shoulders rotate well past 90 degrees in the backswing, then the trunk uncoils ahead of the arm with a clear separation between hip and shoulder rotation.
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10.2s |
John Yandell: Your Strokes: Paul Goldstein's Serve (8 of 9)
Paul Goldstein's serve from a neutral position, filmed from a rear court-level angle. His continental grip is clearly visible with the wrist staying relaxed into a full racquet drop before pronating through contact.
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6.9s |
John Yandell: Forehand Volley
John Yandell’s forehand from the center of the baseline, filmed from a rear court-level angle. His semi-western grip is evident in the strong wrist lag on the forward swing, with the wrist maintaining a laid-back position until just before contact.
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4.6s |
Mysteries of the Heavy Ball:Practical Serving Implications (8 of 10)
John Yandell's serve from a central baseline position, filmed from a rear CourtLevel angle. His continental grip is clearly visible on the handle, with a pronounced wrist pronation through contact that turns the strings square toward the target.
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5.8s |
Your Strokes: Danielle Dotzenrod Forehand (8 of 9)
Danielle Dotzenrod's forehand from the center of the baseline, filmed from a side CourtLevel angle. Her shoulders rotate well past perpendicular to the net on the unit turn, then her trunk uncoils ahead of the arm swing so the racquet lags behind her rotating torso.
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2.8s |
John Yandell: The Easter Bowl 2007 (8 of 8)
John Yandell's forehand from the deuce court, filmed from a rear court-level angle. His hips stay closed through the loading phase with a deep knee bend, then uncoil in sync with an aggressive leg drive upward and into the court.
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4.6s |
The Extreme Closed Stance: The Pro One Handed Backhand
John Yandell’s recovery movement after a groundstroke from a neutral court position, filmed from a side angle. His follow-through unwinds into a compact finish as he quickly re-centers his stance, with the non-hitting hand extending to help him reset into a ready position.
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7.5s |
Your Strokes: Sumner Chase Two-Handed Backhand (8 of 8)
Flash's two-handed backhand return from the center position, filmed from a side angle. The racket face is slightly closed at a contact point just in front of the lead hip, with the swing path driving forward through the ball for added racket head speed.
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3.3s |
Your Strokes: Sai Serve (8 of 9)
Sai's serve from the center of the baseline, filmed from a rear angle. After contact, his racquet finishes across his body while his back leg swings forward into the court to help him recover toward a balanced ready position.
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6.1s |
Grip Structures in the Modern Forehand Part 2
John Yandell’s forehand from the center of the court, filmed from a side angle. His semi-western grip is clear as his wrist stays laid back through the forward swing before pronating through contact.
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2.1s |
The Myth of the Dog
John Yandell's rotation and recovery movement sequence from the center of the court, filmed from a side angle. His follow-through unwinds into a full torso rotation with the non-hitting hand counterbalancing, then he quickly re-centers his weight into a neutral ready position.
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12.6s |
Novak Djokovic's Forehand: The Full Turn and the Backswing
John Yandell's forehand from the center of the court, filmed from a court-level side angle. His semi-open stance is clear as his outside foot plants first, then he rotates his hips while keeping his weight loaded on the back leg before driving forward into the shot.
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5.3s |
Your Strokes: Ryan Dickerson: Forehand (8 of 13)
Ryan Dickerson's forehand from a neutral position, filmed from a side court-level angle. His follow-through finishes high across his body with the hitting shoulder fully rotated through, while his non-hitting hand stays back to help stabilize his upper body before he recovers.
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11.5s |
Your Strokes: "Shroud" Forehand (8 of 11)
Player's forehand from a neutral stance, filmed from a court-level angle. The neutral stance makes it easy to see a semi-western grip with clear wrist lag that releases into a controlled pronation through contact.
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6.2s |
John Yandell: Classical Tennis and Modern Tennis
John Yandell’s forehand from the middle of the court, filmed from a side CourtLevel angle. After contact he finishes with a high windshield-wiper follow-through while his weight continues moving into the court and his non-hitting hand comes back toward a compact ready position.
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4.2s |
What is "True" in Tennis?
John Yandell’s forehand from a central baseline position, filmed from a side CourtLevel angle. His straight-arm forehand follow-through finishes high across his body while his non-hitting hand extends back for counterbalance before he recovers to a neutral ready position.
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6.4s |
The Two-Handed Backhand: The Forward Swing
John Yandell’s forehand from the center of the court, filmed from a side CourtLevel angle. His shoulders rotate well past perpendicular to the net on the unit turn, then the trunk uncoils ahead of the arm swing, making the sequential rotation of torso to hitting shoulder very clear.
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13.2s |
The Backhand Volley: Variations
John Yandell’s forehand from the center of the court, filmed from a court-level side angle. At contact his racket face is nearly square to the ball with the strings aligned slightly closed, and the contact point is just in front of his lead hip with a steeply rising low-to-high swing path.
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8.2s |
Your Strokes: Todd Haydon Serve (8 of 13)
Todd Haydon's serve toss from the center baseline, filmed from a side CourtLevel angle. His continental grip stays relaxed with a slightly bent wrist as the tossing arm extends, keeping the wrist firm and neutral at the release point for a consistent toss.
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7.5s |
Federer's Serve Locations: 1st Serve Ad Court
John Yandell's serve from the center of the baseline, filmed from a rear court-level angle. His follow-through carries his racket arm down across his body while his non-hitting hand drops quickly, and he recovers into a balanced, square ready position with his weight finishing inside the court.
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8.3s |
John Yandell: The One Handed Pro Backhand: Part 3
John Yandell’s forehand preparation and unit turn footwork sequence from the center of the baseline, filmed from a side CourtLevel angle. The racket tip points upward with the strings slightly closed as he completes the unit turn, and the racquet drops below the ball level into a pronounced lag position before accelerating forward.
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9.6s |
John Yandell: Sampras Serve: Hip and Shoulder Rotation
John Yandell’s forehand drop shot preparation from the center of the court, filmed from a side CourtLevel angle. His semi-western grip and relaxed wrist lag are clearly visible as the racquet turns back before the soft, controlled release into the drop shot.
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5.3s |
Your Strokes: Andy Plunkett: 1-Handed Backhand (8 of 8)
Andy Plunkett's one-handed backhand from a neutral baseline position, filmed from a side court-level angle. His shoulders rotate well past 90 degrees in the unit turn, then uncoil in sync with the trunk so that the hitting shoulder drives through while the chest finishes square to the net.
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9s |
Understanding Andy Roddick's Serve Part 2
John Yandell’s forehand from the center of the court, filmed from a rear CourtLevel angle. His split step is clearly timed just before the opponent’s contact, leading into a semi-open stance with a small adjustment step that sets his outside foot before he initiates the forward swing.
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6.7s |
The Serve: Where Are We Now?
John Yandell’s movement and hitting pattern in a neutral baseline position, filmed from a court-level side angle. His split-step lands just before the opponent’s contact, leading into a compact adjustment step sequence that sets a stable neutral stance before each stroke.
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14.2s |
The Myth of the Magic Bullet
John Yandell’s animation sequence of multiple strokes is filmed from a mixed-angle composite used for technical analysis. The animation makes the degree of shoulder turn and trunk coil at key positions in the swing cycle easy to compare frame-by-frame across different strokes.
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8.4s |
Your Strokes: Andy Roddick's Backhand (8 of 9)
Andy Roddick's two-handed backhand from a neutral position, filmed from a side animation angle. His relatively firm eastern backhand grip on the bottom hand and relaxed top hand create a noticeable wrist “set” early in the takeback, which is maintained with minimal wrist rollover through contact.
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2.7s |
Your Strokes: Danielle Dotzenrod Two-Handed Backhand
Player's generic groundstroke backswing filmed from an instructional animation angle. The follow-through is emphasized with clear weight transfer onto the front foot and an immediate return of the non-hitting hand toward the racket to re-establish a neutral ready position.
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The Upward Swing: Federer's Serve in High Speed and High Def
John Yandell's shoulder abduction animation for the serve, filmed from a side angle. His stance remains stable as the upper body rotates, with the feet planted and weight shifting gradually from the back foot to the front foot during the loading phase.
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2.9s |
Andy Roddick's Two-Handed Backhand
John Yandell's running forehand from the deuce side, filmed from a rear court-level angle. His hips stay partially open to the net while his outside leg drives laterally, with a pronounced knee bend that loads before pushing into the shot on the run.
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9.8s |
The Extreme Closed Stance: Two Handed Backhand Norm?
John Yandell's forehand from a neutral position, filmed from a court-level side angle. His shoulders coil well past 90 degrees relative to the net before uncoiling in sync with the trunk, making the sequential rotation of hips, torso, and hitting shoulder especially clear.
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12.4s |
John Yandell: The Forehand: Where Are We Now?
John Yandell's forehand backswing animation from a neutral baseline position, filmed from a side angle. His semi-western grip is stable with a pronounced wrist lag as the racquet head stays well behind the hand throughout the loading phase.
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11.6s |
Two "Modern" Forehands
John Yandell’s forehand from the middle of the court, filmed from a side angle. His footwork includes a small split step into a semi-open stance, with a clear loading on the outside leg before a controlled pivot and recovery step back toward the center.
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6s |
Your Strokes: Norman Ashbrooke Serve (10 of 10)
Norman Ashbrooke’s serve from a central baseline position, filmed from a side angle. His continental grip is clearly visible with a relaxed hand, and you can see a delayed wrist pronation that accelerates just before and through contact.
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7.6s |
Your Strokes: TLM's Extreme Grip Forehand (9 of 16)
Player's forehand from the center of the baseline, filmed from a side CourtLevel angle. The follow-through finishes high with the hitting arm wrapping across the body while the player quickly re-centers their stance into a neutral ready position.
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8s |
Your Strokes: Larry Landsman: Slice Backhand (9 of 18)
Larry Landsman’s slice backhand from a neutral position, filmed from a side court-level angle. His follow-through finishes high with the racquet face slightly open while his weight transfers onto the front foot, and his non-hitting hand helps him return to a ready position.
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6.2s |
John Yandell: Classical Tennis and Modern Tennis
John Yandell’s forehand from the baseline, filmed from a side CourtLevel angle. His shoulders turn well past 90 degrees relative to the net before contact, with a pronounced trunk coil that then uncoils ahead of the arm to initiate the forward swing.
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4.5s |
Don Budge's Forehand: Good Enough for You?
John Yandell’s forehand from a neutral position, filmed from a side CourtLevel angle. At contact the racket face is distinctly closed with the strings tilted forward, and the ball is struck around waist height as the racket head accelerates steeply upward along the swing path.
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1.9s |
What is "True" in Tennis?
John Yandell’s forehand from the center of the court, filmed from a side angle. His hips stay closed as the knees flex into a deep loading position, then the legs drive up and forward to straighten while the hips uncoil into contact.
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6.9s |
John Yandell: Sampras Serve: Hip and Shoulder Rotation
John Yandell’s forehand contact sequence from a central court position, filmed from a side CourtLevel angle. His semi-western grip is clear as the wrist stays laid back with stable extension through contact before gradually releasing into the follow-through.
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4.2s |
Rafael Nadal's Forehand
John Yandell’s forehand from the center of the baseline, filmed from a side CourtLevel angle. His hips stay closed during the loading phase with a pronounced knee bend, then uncoil as his legs drive upward into contact.
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7.6s |
March 2008 Issue
Federer's forehand from the center of the court, filmed from a court-level side angle. His follow-through finishes high across his body while his weight drives forward into the court, quickly bringing both hands back to a neutral ready position.
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4.5s |
March 2008 Issue
John Yandell’s forehand from the center of the court, filmed from a side angle. His forward weight transfer is easy to see as his stance moves from a loaded semi-open position into a pronounced step into the court with his front foot.
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4.5s |
Your Strokes: "Modern" Club Play: Fully Open Stance (9 of 10)
Federer's forehand from a fully open stance, filmed from an animation-style side view. The contact point is slightly in front of his lead hip with a closed racket face and a long extension through the ball, keeping the racket head moving out toward the target before wrapping around.
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7.1s |
Novak Djokovic's Forehand: The Forward Swing
John Yandell’s forehand from the center of the court, filmed from a side angle. His footwork includes a well-timed split step into a semi-open stance, followed by a clear pivot on the outside foot that sets up his forward weight transfer into the finish.
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13.5s |
The Backhand Volley: Variations
John Yandell's forehand from the center of the baseline, filmed from a side CourtLevel angle. His shoulders coil well past 90 degrees relative to the net, then his trunk uncoils ahead of the arm swing, showing clear separation between hip and shoulder rotation.
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11.6s |
The One-Handed Backhand: Stances
John Yandell’s forehand from the Deuce court, filmed from a CourtLevel angle. His follow-through finishes high across his body while his non-hitting hand stays extended back, helping him recover quickly into a balanced ready position.
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10.8s |
Hitting Stances in the Modern Forehand
John Yandell’s forehand from the center of the court, filmed from a side angle. His follow-through finishes high with the racquet wrapping around his non-hitting shoulder as he recovers with a small adjustment step back into a neutral ready position.
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6.1s |
The One Handed Topspin Backhand Part 2
John Yandell’s forehand unit turn demonstration from the center of the baseline, filmed from a side CourtLevel angle. His follow-through finishes high with the racquet wrapping around his non-hitting shoulder while his weight transfers fully onto his front foot, bringing him back into a stable recovery stance.
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5.9s |
The Two-Handed Backhand: The Hitting Stances
John Yandell’s forehand from the center of the baseline, filmed from a side CourtLevel angle. His semi-open stance and early unit turn are clear as he sets the outside foot first, then uses a short adjustment step with the front foot before swinging with relatively straight hitting arm structure.
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9.5s |
Your Strokes: Jacky Duchamp Forehand (9 of 9)
Jacky Duchamp's forehand from the center of the baseline, filmed from a side court-level angle. After contact, she finishes with the racquet wrapping over her shoulder while her weight transfers onto her front foot and her non-hitting hand settles near her torso as she recovers toward a ready position.
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6s |
Your Strokes: Amber Park Forehand (9 of 10)
Justine's forehand from the center of the court, filmed from a side CourtLevel angle. At contact the racket face is slightly closed with the ball struck around waist height, and the racket head accelerates steeply upward along a low-to-high swing path.
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8.1s |
The Myth of Lag and Snap
John Yandell's groundstroke animation from a central court position, filmed from a side angle. The sequence makes the degree of shoulder turn and the timing of his trunk uncoil relative to racket acceleration very easy to compare frame by frame.
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6.4s |
Hand and Arm Rotation
John Yandell’s forehand from a neutral position, filmed from a side angle. His shoulders turn well past perpendicular to the net as the trunk coils, then uncoils in sequence ahead of the arm, making the separation between upper body rotation and hand/arm release easy to see.
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4.8s |
The Myth of the Dog
John Yandell’s forehand from the Deuce side, filmed from a CourtLevel rear angle. The racket face is slightly closed at a contact point just in front of his lead hip, with a steep low-to-high swing path producing pronounced racket head acceleration through the ball.
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3.5s |
Your Strokes: Vin Miller: Serve (9 of 10)
Vin Miller's serve from a central baseline position, filmed from a rear angle. His hips stay relatively stacked over his base with minimal lateral sway while his legs drive straight up through the motion, emphasizing a vertical knee bend and extension pattern.
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2.7s |
Your Strokes: Danielle Dotzenrod Forehand (9 of 9)
Danielle Dotzenrod's forehand from a neutral position, filmed from a side court-level angle. Her follow-through finishes high across her body while her weight transfers onto the front foot, bringing her quickly back into a ready position with both hands on the racquet.
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8.2s |
Grip Structures in the Modern Forehand Part 2
John Yandell’s forehand from the center of the court, filmed from a side angle. His hips load by turning away from the net with a deep knee bend, then uncoil as his legs drive upward and forward into contact.
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3.2s |
One Handed Backhand Part 4: The Forward Swing
John Yandell’s forehand from the center of the court, filmed from a rear court-level angle. His follow-through wraps over the opposite shoulder while his non-hitting hand extends back for counterbalance before he recovers into a neutral ready position.
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5.5s |
All Courters Rule on Wimbledon Grass (2 of 5)
John Yandell's forehand from the middle of the court, filmed from a rear court-level angle. His follow-through finishes high across his body while his non-hitting hand extends back for counterbalance, and he quickly regains a neutral ready position with weight centered on the baseline.
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8s |
Your Strokes: "Shroud" Forehand (9 of 11)
Nadal's forehand from a neutral court position, filmed from a side angle. His follow-through wraps high over his shoulder while his weight drives forward into the court, and he quickly returns his non-hitting hand to the racket throat to reset in a ready position.
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5.1s |
Three Secrets for Destroying Pushers (9 of 16)
John Yandell’s net attack sequence from mid-court, filmed from a side angle. His hips stay low with a pronounced knee bend on the split step, then drive forward with short, aggressive strides as he moves through the volley position.
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10.8s |
Novak Djokovic's Forehand: The Full Turn and the Backswing
John Yandell's neutral stance groundstroke from the center of the court, filmed from a side angle. His follow-through wraps across his body with his weight transferring fully onto the front foot before he recovers back into a balanced ready position.
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4.3s |
The Forehand Return of Serve Part 1: Compact Classical
John Yandell’s forehand from a neutral position, filmed from a rear angle. His hips load by turning as a unit with the shoulders, with a deep knee bend and strong leg drive that uncoils his lower body into the court.
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4s |
The Forehand Return of Serve Part 1: Compact Classical
John Yandell’s forehand from a neutral baseline position, filmed from a rear court-level angle. At contact, the racket edge tracks forward with the face slightly closed and the ball struck around waist height, emphasizing the on-edge position before the face turns through the swing path.
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4.9s |
Modern Tennis: Where Are We Now? The Forehand Part 2
John Yandell's forehand from the middle of the court, filmed from a side angle. His follow-through finishes high with the racquet wrapping across his body while his weight transfers fully onto his front foot, leaving him in a compact, ready position for the next shot.
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4s |
Novak Djokovic's Forehand: A New Synthesis
John Yandell's on-the-rise forehand from a neutral court position, filmed from a side angle. His hips stay low with a pronounced knee bend on the loading leg, then extend upward as the hips rotate through contact to drive into the court.
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3.7s |
Mental Imagery: Synthesizing the Physical and Mental Games (8 of 10)
John Yandell’s forehand from the center of the court, filmed from a side CourtLevel angle. His follow-through carries his racquet well across his body while his non-hitting hand extends back for counterbalance, and he quickly regains a neutral ready position with weight centered for the next shot.
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7.5s |
The One Handed Topspin Backhand Part 1
John Yandell’s FH from the Deuce side, filmed from a CourtLevel rear angle. His follow-through finishes high with the racquet wrapping over his opposite shoulder while his non-hitting hand settles near his torso as he recovers back into a neutral ready position.
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6.7s |
John Yandell: The Forehand: Where Are We Now? (1 of 18)
Tim Mayotte’s split-step and ready position demo from center court, filmed from a court-level angle. At the moment of the split, his racket is held steady in front of his torso with the head slightly above the hands, giving a clear view of how the strings stay neutral and ready to turn to either side.
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10.5s |
Your Strokes: John Daly: Serve Part 2 (9 of 13)
Pete’s serve from a central baseline position, filmed from a court-level rear angle. His hips stay closed longer during the knee bend and load, then uncoil sharply upward as the legs drive, showing a strong upward push off the ground.
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6.9s |
John Yandell: Your Strokes: Paul Goldstein's Serve (9 of 9)
Pete's first serve from the deuce court, filmed from a rear court-level angle. At contact his racket face is slightly tilted toward the target with the ball struck just above full extension, and the racket head whips up and across the ball on a steep upward swing path.
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14.5s |
Mysteries of the Heavy Ball:Practical Serving Implications (9 of 10)
John Yandell's serve from a central baseline position, filmed from a tight rear angle. His shoulder line coils well beyond 90 degrees relative to the baseline, with a pronounced trunk stretch that uncoils sequentially from hips to shoulders into contact.
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19.4s |
Novak Djokovic's Forehand: The Unit Turn
John Yandell’s pivot step footwork sequence at the baseline, filmed from a side angle. His hips stay coiled over a flexed back leg before uncoiling as the front foot plants, clearly showing how the knee bend and leg drive initiate rotation.
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6.7s |
Measuring Racket Head Speed: A New Study of the Sampras Serve
John Yandell’s serve power-position to racquet drop sequence from a central baseline view, filmed from a rear CourtLevel angle. His continental grip is clearly visible with a relaxed hand, and you can see the racket head lag behind the forearm as his wrist stays laid back before beginning to pronate into the drop.
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3.1s |
Your Strokes: Bryan Yeager One Handed Backhand (9 of 10)
Bryan Yeager's one-handed backhand from the center of the baseline, filmed from a side CourtLevel angle. His follow-through extends high with the hitting arm fully across his body while his non-hitting hand counterbalances behind him, and he quickly returns to a neutral ready position with weight shifted onto his front foot.
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9s |
The Pro Return: The One Handed Backhand Drive
John Yandell’s recovery movement to the center after a groundstroke, filmed from a court-level side angle. His semi-western forehand grip is retained loosely in his hand as he recovers, with the wrist staying relaxed and slightly laid back rather than tightening or locking after contact.
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15.5s |
Further Thoughts: The Serve (9 of 20)
John Yandell’s serve from a central baseline position, filmed from a rear CourtLevel angle. His hips stay closed to the net deep into the trophy phase before powerfully uncoiling with a pronounced knee bend and leg drive upward into contact.
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12.7s |
The Forehand Followthrough: Extension and Rotation
John Yandell's forehand from the center of the court, filmed from a side CourtLevel angle. His shoulders and trunk coil early as the racquet lags behind, then uncoil in a clearly sequenced rotation where the torso leads the arm through contact and into the wiper-style follow-through.
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4.5s |
The Stringbed and Pro Contact
John Yandell’s movement sequence approaching the baseline, filmed from a CourtLevel angle. His footwork features a well-timed split step followed by compact adjustment steps into a neutral stance before initiating his groundstroke preparation.
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3.7s |
The Wimbledon Final 2008: A Different Story? (9 of 22)
John Yandell’s point-play sequence from a baseline position, filmed from a rear animation-style angle. His split-step timing into a semi-open stance is clearly visible as he adjusts with small lateral steps before setting his feet for each groundstroke.
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8.4s |
Andy Murray and the Open Stance Forehand
John Yandell’s neutral-stance forehand from the center of the court, filmed from a side angle. His shoulders rotate well past 90 degrees relative to the baseline on the unit turn, then the trunk uncoils ahead of the arm to initiate the forward swing in a clear kinetic chain sequence.
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7.9s |
Pete Sampras: New Filming Protocols, Classic Motions
John Yandell's serve from the center of the baseline, filmed from a court-level rear angle. His deep knee bend and strong upward leg drive into the court are clearly visible, with the hips extending fully as he pushes off the ground into the serve-and-volley motion.
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9.2s |
Your Strokes: Param Srinivas: Straight Arm Forehand (10 of 10)
Param Srinivas's forehand from a neutral position, filmed from an animation-style instructional angle. The contact point is slightly in front of the body with a straight hitting arm, and the racket face stays relatively square to the ball as the shoulder rotation wraps the swing across the body.
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10s |
Your Strokes: Jonathan Ryle Serve
Player's serve from a central position, filmed from a side angle. The video makes it easy to see how the hips lead the motion with a deep knee bend and strong leg drive upward before shoulder tilt and racquet drop.
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5.7s |
Roger Federer: Serve Part 2
John Yandell's FH from the Deuce side, filmed from a CourtLevel rear angle. His shoulders coil well past 90 degrees relative to the net, then uncoil in sequence with the trunk leading the arm to create a pronounced separation between upper body rotation and the racquet swing.
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4.9s |
The Forehand Return of Serve Part 2: Extreme Grips
John Yandell’s split-step and movement variations from a neutral court position, filmed from a side angle. His knees flex deeply on the split-step and then extend into a strong lateral push-off, with the hips staying low and stable to support quick directional changes.
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10.6s |
Why Rafa Crushed Roger at the French 2007 (9 of 11)
John Yandell's forehand passing shot from a neutral baseline position, filmed from a rear court-level angle. His quick split-step into a semi-open stance and immediate crossover recovery step are clearly visible as he reacts to the incoming ball.
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4.5s |
John Yandell: Del Potro's Forehand Analyzed (9 of 14)
John Yandell's forehand from the center of the baseline, filmed from a side CourtLevel angle. His straight-arm structure is paired with a deep knee bend and strong leg drive upward and forward that clearly loads into the front hip before contact.
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5.3s |
Tomas Berdych's Forehand (9 of 16)
John Yandell's forehand from the center of the baseline, filmed from a side CourtLevel angle. His straight-arm forehand structure is paired with a neutral stance and a clear inside leg pivot as he loads on the outside foot before driving into the ball.
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3.3s |
The Two-Handed Backhand: The Forward Swing
John Yandell’s forehand swing finish from the center of the court, filmed from a side angle. His hips stay mostly closed through contact before unwinding into a full rotation, with a pronounced front-knee bend that straightens into leg drive as the swing finishes.
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9.2s |
The Modern Pro Slice: Part 2
John Yandell’s forehand swing plane demonstration from the center of the baseline, filmed from a side angle. His stance shifts between neutral and semi-open as he steps into contact, with a clearly visible adjustment of his right foot to align his body along the intended swing path.
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8.7s |
John Yandell: Forehand Volley
John Yandell's forehand from the center of the court, filmed from a rear court-level angle. His hips stay closed longer during the unit turn before uncoiling, with a noticeable knee bend and leg drive upward into the ball.
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5s |
The Forehand Volley Variations
John Yandell’s forehand from the center of the court, filmed from a rear angle. His compact adjustment steps into a semi-open stance are clearly visible as he aligns his feet and hips before driving through the ball.
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3.7s |
John Yandell: The One Handed Pro Backhand: Part 3
John Yandell’s serve from a central baseline position, filmed from a rear CourtLevel angle. At contact, the racket face is slightly tilted forward with the ball struck just above full arm extension, and the racket head accelerates steeply upward along the right side of his body before pronating across.
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11.4s |
Stan Wawrinka's Backhand (9 of 11)
John Yandell's forehand from the center of the baseline, filmed from a side CourtLevel angle. His shoulders rotate well past 90 degrees in the backswing, then uncoil ahead of the hips so the trunk leads the arm into the wiper-style forward swing.
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7.3s |
The Two-Handed Backhand: Hand and Arm Rotation
John Yandell's FH NeutralStance from the Center, filmed from CourtLevel Side. His shoulders and trunk coil relatively less than typical, with a compact upper-body turn that uncoils in sync with the forward arm swing rather than through a large rotational unwind.
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15.6s |
Understanding Andy Roddick's Serve Part 2
John Yandell’s forehand from the center of the baseline, filmed from a rear court-level angle. His follow-through finishes high with the racquet wrapping over his shoulder while his non-hitting hand settles near his torso as he recovers back into a ready position.
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5.8s |
Ball Spin In Pro Tennis (5 of 9)
John Yandell's backhand from a central baseline position, filmed from a court-level side angle. His follow-through finishes high with the racquet wrapping across his body while his non-hitting hand extends back, and he quickly returns to a neutral ready position with weight settling on his front foot.
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1.9s |
Hand and Arm Rotation
John Yandell's FH from the Deuce side, filmed from CourtLevel. His follow-through finishes high across his body while his recovery steps bring him quickly back into a compact, two-handed ready position.
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5.8s |
Roger Federer and the Evolution of the Modern Forehand
Part1
John Yandell's forehand from the Deuce side, filmed from a CourtLevel rear angle. His hips stay closed through the loading phase with a pronounced knee bend, then uncoil as his legs drive upward into contact.
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11s |
Key Differences Across the Grip Styles
John Yandell’s instructional segment on the role of video in stroke analysis, filmed from a CourtLevel angle. From this view, he emphasizes how slow-motion replay exposes subtle grip changes and wrist pronation patterns that are not visible at full speed.
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5.7s |
Hand and Arm Rotation
John Yandell’s rotational forehand from a central baseline position, filmed from a rear court-level angle. His semi-western grip is paired with a pronounced wrist lag in the forward swing, with the racket head trailing clearly behind the hand before unwinding into contact.
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3.9s |
Young Roger (1 of 1)
John Yandell’s neutral-position forehand from the middle of the court, filmed from a rear court-level angle. After contact his follow-through wraps fully across his body while his non-hitting hand extends back for counterbalance, and he quickly returns the racquet to a neutral ready position with his weight settling on his front foot.
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156.4s |
The Biggest Hardcourt Tournament ?The Mercedes Benz and Dr. Allen Fox (2 of 3)
John Yandell's forehand from the deuce court, filmed from a rear court-level angle. His semi-western grip is easy to see in the way his hand is positioned under the handle, with a distinct wrist lag angle maintained into contact before a controlled pronation through the hit.
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3.9s |
Racket Face Angle
John Yandell’s forehand from the center of the court, filmed from a rear CourtLevel angle. After contact his racquet wraps fully across his body while his non-hitting hand extends back for counterbalance before he recovers into a compact ready position.
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9.1s |
July 2015 Issue
No tennis action is visible in this newsletter-style video, filmed from a static front-facing angle. The shoulders and trunk remain mostly square to the camera, with minimal rotational coil or uncoil occurring throughout the segment.
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18.2s |
July 2015 Issue
Federer's FH NeutralStance from the Deuce side, filmed from CourtLevel. His hips stay closed through the loading phase with a deep knee bend, then unwind from the ground up as his legs drive up and into the court.
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8.6s |
Your Forehand and the Modern Forehand: The Backswing: Part 2
John Yandell's backswing sequence filmed from a side CourtLevel angle. His follow-through brings the racquet up and across his body while his non-hitting hand stays in front to help him recover quickly back toward a neutral ready position.
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911s |
Ball Spin In Pro Tennis (2 of 9)
John Yandell's forehand from a central baseline position, filmed from a rear court-level angle. The racket face is slightly closed at a contact point around waist height, with the racket head accelerating steeply upward along a low-to-high swing path.
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2.7s |
Roger Federer and the Evolution of the Modern Forehand
Part2
John Yandell's classic forehand finish from a neutral court position, filmed from a rear court-level angle. His semi-western grip is evident in the way his wrist maintains laid-back extension through contact before relaxing into a wrap-around finish.
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3.4s |
Roger Federer and the Evolution of the Modern Forehand
Part1
John Yandell's forehand from the Deuce court, filmed from a CourtLevel Side angle. The racket face is slightly closed at a contact point just in front of his lead hip, with the racket head accelerating on a steep low-to-high path.
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7.6s |
The Osmosis Clinic: Indian Wells 2007 (1 of 3)
John Yandell's neutral FH from the middle of the court, filmed from CourtLevel Side. His compact split step into a semi-open stance and quick pivot on the outside foot are clearly visible before he drives forward and recovers with small adjustment steps back to center.
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180s |
The Osmosis Clinic: Two-Handed Backhand
John Yandell’s forehand from the Deuce side, filmed from a CourtLevel rear angle. The racket face is slightly closed at a contact point just in front of his lead hip, with the racket head accelerating steeply upward along the swing path.
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481s |
Federer's Serve Locations: 2nd Serve Placements
John Yandell's groundstrokes from the center of the court, filmed from a rear comparison angle. His follow-throughs finish with the racquet wrapping fully across his body as he quickly resets his stance and brings both hands back to a neutral ready position between shots.
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8.1s |
Federer's Serve Locations: 2nd Serve Placements
John Yandell’s forehand comparison sequence from a central baseline position, filmed from a rear court-level angle. His semi-western grip is consistent across the strokes, with a pronounced wrist lag on the forward swing that straightens into a firm, stable wrist at contact.
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11.7s |
Federer's Serve Locations: 2nd Serve Placements
John Yandell’s forehand and backhand comparison from mid-court, filmed from a rear camera angle. His recovery steps bring him quickly back to a neutral ready position, with the non-hitting hand re-centering on the racquet as his weight settles evenly on both feet after each follow-through.
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8.8s |
Federer's Serve Locations: 2nd Serve Placements
John Yandell’s forehand comparison from mid-court, filmed from a rear camera angle. The racket face angle at contact is slightly more closed in one swing than the other, with a noticeably steeper low-to-high swing path and higher racket head speed in the more aggressive version.
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30.1s |
Roger Federer Serve Locations: Deuce Court
John Yandell’s stroke comparison from a central baseline position, filmed from a court-level side angle. His footwork pattern includes a well-timed split step into a compact adjustment shuffle, settling into a stable neutral stance before initiating the stroke.
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7.7s |
Roger Federer Serve Locations: Deuce Court
John Yandell’s forehands and backhands are compared side-by-side from a CourtLevel side angle. His hips and legs load with deep knee flexion and distinct hip coil before driving upward and uncoiling into the court on each stroke.
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13.1s |
Roger Federer Serve Locations: Deuce Court
John Yandell’s comparison clip features multiple groundstrokes from varying court positions, filmed from a mixed-angle composite. His relatively firm eastern grip and stable wrist position are consistent across strokes, with minimal wrist flexion at contact and a clearly maintained wrist angle through the hitting zone.
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13.1s |
A New Teaching System: The Serve: Contact Point (1 of 1)
John Yandell’s serve contact point from a central baseline teaching position, filmed from CourtLevel. His shoulders stay tilted with the hitting shoulder clearly higher than the tossing shoulder as the trunk uncoils upward into contact, making the degree of shoulder-over-shoulder rotation and chest lift easy to compare frame by frame.
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409s |
The Biggest Hardcourt Tournament ?The Mercedes Benz and Dr. Allen Fox (3 of 3)
John Yandell's FH from the Deuce court, filmed from a Rear angle. His follow-through finishes over the opposite shoulder with his non-hitting hand extending back for counterbalance before he recovers to a neutral ready position.
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3.1s |
Roger Federer: Serve Part 2
John Yandell’s forehand from the center of the court, filmed from a court-level side angle. His follow-through finishes high with the non-hitting hand settling back toward his torso as he recovers into a neutral ready position.
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5.7s |
Roger Federer and the Evolution of the Modern Forehand
Part1
John Yandell's FH from the Deuce side, filmed from a Rear angle. His semi-western grip is clear with the wrist laid back in pronounced lag on the forward swing before releasing into contact.
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5.8s |
Roger Federer and the Evolution of the Modern Forehand
Part2
John Yandell's forehand from the center of the baseline, filmed from a rear court-level angle. His compact split step into an open stance load is followed by a small adjustment hop and a clear crossover recovery step back toward the center.
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5.7s |
Roger Federer and the Evolution of the Modern Forehand
Part2
John Yandell's extreme-rotation forehand from the Deuce side, filmed from a rear CourtLevel angle. At contact his racket face is slightly closed with the ball struck around waist height, and the steep low-to-high swing path creates pronounced upward racket head acceleration through the hitting zone.
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4.1s |
Indian Wells: Secrets of Direct Infusion (1 of 2)
John Yandell’s forehand from the Deuce court, filmed from a CourtLevel Side angle at Indian Wells. His shoulders and trunk create a pronounced coil with the hitting-side shoulder fully turned under the chin, then uncoil in sync with hip rotation so the trunk leads the arm into contact.
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2.8s |
Roger Federer and the Evolution of the Modern Forehand
Part1
John Yandell’s FH from the Deuce side, filmed from a Rear angle. His footwork includes a small adjustment hop into an open stance followed by a quick recovery step that returns him toward the center of the baseline.
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12.2s |
Shoulder Rotation
John Yandell’s forehand from the deuce court, filmed from a rear court-level angle. His hips stay relatively closed through the loading phase with a deep knee bend, then unwind in sync with a strong upward leg drive into contact.
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6.5s |
Hand and Arm Rotation
John Yandell’s forehand from the Deuce court, filmed from a CourtLevel Side angle. His shoulders turn well past 90 degrees relative to the net, with a pronounced trunk coil that then uncoils sequentially from hips to shoulders into contact.
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5.2s |
Key Differences Across the Grip Styles
John Yandell’s complete stroke sequence from a central baseline position, filmed from a court-level side angle. The side view makes it easy to see the depth of his shoulder turn and how his trunk coils early, then uncoils in a clearly sequenced motion from hips through shoulders into the hitting arm.
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4.9s |
Racket Face Angle
John Yandell’s heavy topspin forehand from a neutral position, filmed from a rear court-level angle. His semi-western grip is evident in the strong racket-face closure, with pronounced wrist lag that unwinds into a sharp pronation through contact.
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4.4s |
Roger Federer and the Evolution of the Modern Forehand
Part1
John Yandell’s FH from the Deuce side, filmed from a CourtLevel Side angle. His shoulders turn well past 90 degrees relative to the net, creating a pronounced trunk coil that then unwinds in sequence from hips through torso to the hitting shoulder.
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9.6s |
Shot Variations
John Yandell’s complete point construction sequence from both Ad and Deuce court positions, filmed from a CourtLevel Side angle. After each shot he recovers with a compact follow-through that quickly returns his racquet to a neutral ready position in front of his body, with his weight transferring efficiently back toward the center of the baseline.
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4.1s |
Ball Spin In Pro Tennis (6 of 9)
John Yandell's backhand from the center of the court, filmed from a rear court-level angle. His shoulders rotate as a single unit with the trunk, creating a pronounced coil on the unit turn and a clearly sequenced uncoil where the torso leads the arm and racquet into contact.
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2.8s |
Ball Spin In Pro Tennis (1 of 9)
John Yandell's forehand from a central baseline position, filmed from a rear CourtLevel angle. His semi‑western grip is clear in the video, with pronounced wrist lag on the forward swing and a distinct upward wrist pronation through contact to impart heavy topspin.
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2.8s |
Roger Federer and the Evolution of the Modern Forehand
Part1
John Yandell’s forehand from the center of the court, filmed from a rear angle. His footwork features a well-timed split step into an open stance, with a clear lateral adjustment step before planting the outside foot for the swing.
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10.7s |
Indian Wells 2011: You're There Right? (1 of 2)
John Yandell’s movement and positioning during live match play at Indian Wells, filmed from a rear stadium angle. His hips and legs clearly show how he sets his base with a moderate knee bend and then adjusts his stance width and hip alignment dynamically as he tracks and prepares for each incoming ball.
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213.7s |
The New Indian Wells: Larry Ellison, Robert Lansdorp, Free Mojitos (2 of 5)
John Yandell’s neutral stance forehand from the middle of the court, filmed from a rear CourtLevel angle. His follow-through finishes over the opposite shoulder with the non-hitting hand extending back for counterbalance before he quickly returns to a compact ready position.
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213.7s |
The New Indian Wells: Larry Ellison, Robert Lansdorp, Free Mojitos
Player’s groundstroke from the center of the court, filmed from a rear angle. The hips load with a noticeable sit into the legs, with strong knee bend and upward leg drive initiating the rotation into the shot.
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213.7s |
Indian Wells A Personal Tour 2008 (1 of 1)
John Yandell walking through the Indian Wells grounds, filmed from a moving court-level angle. His relaxed hand position and neutral wrist alignment on the racquet handle suggest a light, observational grip rather than a hitting or demonstration grip.
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188.1s |
What I Learned from the Inner Game of Tennis: Part 4 (2 of 18)
John Yandell’s mental game segment on the Inner Game of Tennis concepts, filmed from a front interview angle. His relaxed upper body and steady eye focus at “contact” moments in his descriptions mirror the non-judgmental awareness he advocates, emphasizing a calm, uncluttered mental frame instead of any specific racket position.
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387.3s |
The Biggest Hardcourt Tournament ?The Mercedes Benz and Dr. Allen Fox (1 of 3)
John Yandell's FH from the Deuce court, filmed from a CourtLevel Side angle. The contact occurs slightly in front of his body with the racket face mildly closed and the racket head accelerating steeply upward along a low-to-high swing path.
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4.6s |
January 2009 Issue
Jerzy Janowicz's serve from a central position, filmed from a rear angle. His continental grip is firm with a relaxed wrist that pronates sharply through contact, making the racquet head whip up and across the ball.
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7.4s |
January 2009 Issue
Jelena Jankovic's first serve from a central baseline position, filmed from a rear court-level angle. At contact her racket face is slightly closed with the ball struck just above full arm extension, and the racket head accelerates steeply upward along the right side of her body.
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7.4s |
July 2011 Issue
Federer's neutral FH from the center of the baseline, filmed from a rear court-level angle. The racket face is slightly closed at contact with the ball struck just in front of his lead hip at roughly waist height, and the racket head accelerates upward on a steep low-to-high path.
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7.4s |
July 2011 Issue
Newsletter issue from July 2015, filmed from a standard document or screen-view angle. The follow-through of the layout and content flow ends with clear calls-to-action and navigation elements that guide the reader into subsequent sections.
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9.1s |
July 2011 Issue
July newsletter issue announcement from a neutral court position, filmed from a generic front-facing angle. After contact, the player’s weight transfers forward into a balanced stance with the non-hitting hand settling near the torso as they reset into a ready position.
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8.2s |
July 2011 Issue
July newsletter’s mixed content is presented from a general front-facing, eye-level angle. The editor’s grip on the racquet appears relaxed with minimal wrist pronation, keeping the wrist relatively firm through any brief swing motions visible.
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5.2s |
July 2011 Issue
July newsletter issue with curated tennis video updates, filmed from a standard front-facing layout. Player movement notes emphasize split-step timing descriptions and stance cues linked to specific drills featured in this issue.
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4.7s |
July 2011 Issue
July newsletter issue from the 2011 category, filmed from a general front-facing or editorial layout view. The lower body is mostly static, with minimal visible hip rotation or leg drive, emphasizing an upright stance rather than athletic loading in the legs.
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3.7s |
July 2011 Issue
Federer's FH from the Deuce side, filmed from a Rear angle. After contact his racquet finishes high over his shoulder while his non-hitting hand drops back for counterbalance before he recovers to a neutral ready position.
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10.7s |
July 2011 Issue
July newsletter issue announcement from a neutral standing position, filmed from a front camera angle. The reader’s eye is guided by a clear left-to-right layout that keeps the main call-to-action in a central, stable “stance” on the page with minimal visual shifting required.
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9.4s |
July 2011 Issue
John Yandell’s movement and footwork patterns during live point play, filmed from a CourtLevel angle. His frequent, well-timed split steps into a semi-open stance followed by quick adjustment steps are clearly visible as he reacts laterally and then recovers toward the center.
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7.4s |
July 2009 Issue
July newsletter issue’s groundstrokes and serves from various court positions, filmed from mixed CourtLevel and Rear angles. The contact point consistently appears slightly in front of the body with a moderately closed racket face and a smooth, continuous swing path through the ball.
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17.9s |
July 2009 Issue
John Yandell’s movement and hitting patterns from the baseline, filmed from a court-level angle. His compact split-step into a semi-open stance, followed by quick adjustment steps, makes his footwork timing and weight transfer especially clear from this view.
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17.9s |
June 2011 Issue
John Yandell's mixed stroke and movement sequences from multiple court positions, filmed from CourtLevel and Rear angles. His shoulder and trunk rotations are easy to compare across strokes, with distinct degrees of shoulder turn and clearly sequenced trunk uncoil that can be analyzed frame by frame.
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14.6s |
Your Forehand and the Modern Forehand:Grip and Contact Height
John Yandell’s forehand from the center of the baseline, filmed from a side court-level angle. His semi-western forehand grip is clearly visible with pronounced wrist lag on the forward swing that unwinds into a controlled pronation through contact.
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634.2s |
Your Forehand and the Modern Forehand: Preparation
John Yandell's forehand preparation from the center of the court, filmed from a court-level angle. His early unit turn into a semi-open stance is paired with a small adjustment hop and rhythmic loading step that set up efficient weight transfer into the forward swing.
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660.6s |
Hand and Arm Rotation
John Yandell’s classic forehand from the middle of the court, filmed from a side angle. His hips load by turning away from the net with a clear knee bend, then unwind as the legs drive up and forward to initiate the forward swing.
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2.8s |
Hand and Arm Rotation
John Yandell’s forehand from a neutral baseline position, filmed from a side CourtLevel angle. At contact his racket face is slightly closed with extreme forearm and wrist rotation visible, and the racket head whips upward on a steep low-to-high path in front of his body.
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3.7s |
The Serve: Where Are We Now?
John Yandell’s FH from the Deuce side, filmed from a Rear angle. His shoulders coil well past his hips before uncoiling, with the trunk rotation clearly initiating the forward swing before the arm and racquet follow.
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7.4s |
Doing Your Own High Speed Video Analysis Simply and Inexpensively (6 of 6)
John Yandell’s baseline groundstrokes from center court, filmed from CourtLevel. After contact he deliberately returns to a neutral ready position with the racquet centered in front of his body and his weight settling evenly on both feet.
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11.6s |
Roger Federer and the Evolution of the Modern Forehand
Part2
John Yandell's left-handed forehand from the ad court, filmed from a rear CourtLevel angle. After contact his wrap-around follow-through finishes high over the opposite shoulder while his non-hitting hand extends back to help him recover quickly toward a neutral ready position.
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4.8s |
Roger Federer and the Evolution of the Modern Forehand
Part2
John Yandell’s forehand from the center of the court, filmed from a rear CourtLevel angle. His semi-western grip is clear with the racket laid back and the wrist in pronounced lag just before it snaps forward into contact.
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10.1s |
Roger Federer and the Evolution of the Modern Forehand
Part2
John Yandell's forehand from the Deuce court, filmed from a CourtLevel side angle. His hips stay closed through the loading phase with a deep knee bend, then rotate aggressively as the legs drive up and out of the court during the forward swing.
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5.4s |
Doing Your Own High Speed Video Analysis Simply and Inexpensively (1 of 6)
John Yandell's FH from the Deuce side, filmed from CourtLevel. At contact his racket face is slightly closed with the ball struck just in front of his lead hip, and the racket head accelerates upward on a steep low-to-high path.
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5.6s |
May 2016 Issue
Roger Federer’s FH from the Deuce side, filmed from CourtLevel. His semi-western grip is clear with the racket laid back, creating visible wrist lag before a relaxed but controlled release through contact.
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10.7s |
May 2016 Issue
John Yandell’s movement and positioning segment from a neutral court position, filmed from CourtLevel. His split-step timing and initial adjustment steps into a stable, slightly open stance are clearly visible as he prepares to set up for the incoming ball.
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10.7s |
Your Strokes: Megan Mathews Forehand (7 of 7)
Megan Mathews's forehand contact zone from the baseline, filmed from a side CourtLevel angle. Her hips stay relatively closed with a noticeable knee bend on the back leg, then extend upward as she drives through the ball with her legs.
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3.4s |
Your Strokes: Megan Mathews Forehand (6 of 7)
Megan Mathews's forehand from the Deuce side, filmed from a rear court-level angle. At contact, her racket face is slightly closed with the ball meeting the strings just in front of her lead hip at about waist height, and the racket head accelerates steeply upward along a low-to-high path.
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7.7s |
Roger Federer and the Evolution of the Modern Forehand
Part1
John Yandell’s mishit forehand from the baseline, filmed from a rear court-level angle. His split-step is followed by a quick adjustment shuffle into an open stance, with a visible late weight transfer that contributes to the mishit.
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3.3s |
The Two-Handed Backhand: The Hitting Stances
John Yandell’s forehands, backhands, and serves from multiple court positions, filmed from mixed court-level and side angles. His semi-western forehand grip and relaxed wrist create a pronounced lag before contact, while his serve motion features clear wrist pronation into the ball.
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26.9s |
Shot Variations
John Yandell's forehand from the deuce side, filmed from a rear court-level angle. His hips load in a semi-open position with a pronounced knee bend, then unwind as his legs drive upward and forward into the shot.
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4.4s |
Shot Variations
John Yandell's one-handed backhand from the ad court, filmed from a rear court-level angle. His follow-through finishes high with the racquet wrapping across his body while his non-hitting hand moves back to help his shoulders unwind and recover toward a ready position.
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3.5s |
Roger Federer and the Evolution of the Modern Forehand
Part1
John Yandell's on-the-rise forehand from the deuce side, filmed from a rear court-level angle. After contact his follow-through finishes high across his body while his non-hitting hand extends back for counterbalance, and he quickly recovers with small adjustment steps into a compact ready position.
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5.6s |
Osmosis Clinic: Forehand Volley
John Yandell's forehand volleys from the forecourt, filmed from a court-level side angle. His hips stay relatively square to the net while the knees maintain a slight flex, with a short, compact leg drive into the ball on each step-through.
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475.1s |
The Osmosis Forehand
John Yandell's forehand from a neutral court position, filmed from a rear CourtLevel angle. His hips load in a closed position with a pronounced knee bend before uncoiling into contact, and you can clearly see the rear leg driving up and around into the court.
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656.7s |
What is "True" in Tennis?
John Yandell’s forehand from the deuce side, filmed from a rear court-level angle. His semi-western grip is clear in the way the racket face stays closed with pronounced wrist lag before a sharp pronation through contact.
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22s |
Ball Spin in Pro Tennis Part 2 (10 of 14)
John Yandell's backhand volley from the net, filmed from a court-level side angle. His hips stay relatively square to the net with a subtle knee flex and short forward leg drive, making the volley more of a compact step-through than a deep lower-body load.
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2.5s |
Ball Spin In Pro Tennis (3 of 9)
John Yandell's forehand from a neutral baseline position, filmed from a court-level side angle. His shoulders rotate well past 90 degrees relative to the net on the unit turn, then the trunk uncoils in sequence with the hitting shoulder leading slightly ahead of the hips through contact.
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4.3s |
Ball Spin In Pro Tennis (8 of 9)
John Yandell's serve from a central baseline position, filmed from a rear angle. His shoulders rotate well past 90 degrees relative to the baseline, creating a pronounced trunk coil that uncoils sequentially from hips to shoulders into contact.
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1.3s |
John Yandell: Ball Speed in Pro Tennis (2 of 5)
John Yandell’s mixed-shot sequence from a central baseline position, filmed from a rear CourtLevel angle. His hips load with a pronounced sit into the legs, then uncoil as the knees extend and drive up through contact, making the timing of hip rotation and leg push especially clear.
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1.7s |
Ball Spin In Pro Tennis (9 of 9)
John Yandell's heavy-ball forehand from the deuce court, filmed from a rear court-level angle. After contact his follow-through finishes high across his body while his weight moves into the court, and he quickly resets his hands in front of his torso to return to a ready position.
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9.2s |
Ball Spin in Pro Tennis Part 2 (14 of 14)
John Yandell's heavy-ball forehand from the center of the baseline, filmed from a rear court-level angle. His shoulders rotate well past 90 degrees in the unit turn, then the trunk uncoils ahead of the arm so the racquet lags behind the torso rotation before contact.
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3.9s |
Racket Face Angle
John Yandell’s net-closing sequence from a central court position, filmed from a court-level angle. His recovery is marked by a compact forward-weight transfer and a quick return to a square, ready stance with both hands resetting on the racquet in front of his body.
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5.8s |
Mysteries of the Heavy Ball: Introduction (3 of 8)
John Yandell's wide serve from the deuce court, filmed from a rear court-level angle. His motion features an early shoulder tilt with the hitting shoulder dropping well below the tossing shoulder, followed by a pronounced trunk uncoil that brings the chest square to the court just after contact.
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4.5s |
Ball Spin in Pro Tennis Part 2 (13 of 14)
John Yandell's heavy topspin forehand from a central baseline position, filmed from a rear CourtLevel angle. After contact his follow-through wraps fully across his body while his weight continues moving into the court, and he quickly brings both hands back to the racket in a compact ready position.
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4.3s |
Hand and Arm Rotation
John Yandell's forehand from the center of the court, filmed from a side angle. His shoulders rotate well past perpendicular to the net on the unit turn, then the trunk uncoils ahead of the arm, making the delayed shoulder opening relative to contact easy to see.
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4.6s |
Shot Variations
John Yandell’s complete stroke sequence from multiple court positions, filmed from mixed court-level and side angles. His grips and wrist positions across different strokes are distinctly visible, especially the firm continental grip on serves and volleys and the clear wrist lag into a laid-back position before forehand and backhand contact.
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5.9s |
Tennisplayer Approaches 20! (7 of 13)
John Yandell playing a live point from a central baseline position, filmed from a court-level angle. His hips load with a clear coil while his knees sink into a deep flex before driving upward, with the legs uncoiling in sync with his hip rotation as he moves into each shot.
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17s |
Indian Wells in 2014: New Dining, New Virtual World, Actual Real Tennis (2 of 2)
John Yandell’s neutral-court forehand filmed from a court-level side angle. His hips load with a deep knee bend and then uncoil as the rear leg drives forward, clearly showing how the lower body initiates the forward swing.
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8.4s |
Roger Federer and the Evolution of the Modern Forehand
Part1
John Yandell's serve from the Deuce court, filmed from a Rear angle. His deep knee bend and aggressive leg drive into the court are clearly visible as his hips extend upward and forward into the hitting motion.
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11.2s |
Mysteries of the Heavy Ball: Introduction (7 of 8)
John Yandell's serve from the center of the baseline, filmed from a rear court-level angle. His shoulders coil deeply away from the court with a pronounced trunk rotation, then uncoil in a clearly sequenced motion from hips through torso to the hitting shoulder.
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11.1s |
Key Differences Across the Grip Styles
John Yandell’s complete stroke and movement sequence from all court positions, filmed from multiple court-level and rear angles. His footwork patterns include clearly timed split-steps into open and neutral stances, with efficient recovery steps that reposition him for the next shot.
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6.6s |
Shoulder Rotation
John Yandell's serve from the Deuce side, filmed from a Rear angle. His continental grip is clearly visible on the handle, and you can see pronounced wrist pronation through contact as the racquet edge rotates toward the ball.
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4.7s |
Off Court Visualizations (5 of 7)
John Yandell’s composite stroke footage from multiple court positions, filmed from various angles. His footwork patterns are broken down frame by frame, making it easy to see the timing of his split step and the transition into neutral or open stances before each stroke.
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239.2s |
Roger Federer and the Evolution of the Modern Forehand
Part2
John Yandell’s rotation medley sequence from the center of the court, filmed from a side CourtLevel angle. His semi‑western forehand grip is clear, with pronounced wrist lag on the forward swing and a distinct unhinging of the wrist through contact.
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8.4s |
John Yandell: The Myth of the Pinpoint Stance
John Yandell's leg movement and footwork from the center of the court, filmed from a court-level angle. His knee flex and push-off are clearly visible, with the legs loading deeply before extending explosively into the shot.
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8.6s |
Roger Federer and the Evolution of the Modern Forehand
Part1
John Yandell’s serve from the baseline, filmed from a rear court-level angle. His shoulders coil well past perpendicular to the net before uncoiling, with the trunk rotation clearly leading the arm swing in a sequential kinetic chain.
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10.8s |
Measuring Racket Head Speed: A New Study of the Sampras Serve
John Yandell's movement and court coverage analysis, filmed from a graphic-enhanced composite angle using high-speed video. His split-step timing and first explosive push-off step are broken down frame-by-frame to illustrate how early weight transfer and directional loading initiate efficient court movement.
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8.5s |
Mysteries of the Heavy Ball: Introduction (5 of 8)
John Yandell's neutral FH from the middle of the court, filmed from CourtLevel Side. At contact the racket face is slightly closed with the ball struck just in front of the lead hip at roughly waist height, and the racket head accelerates steeply upward along a low-to-high path.
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10.4s |
The Myth of the Archer's Bow
John Yandell’s groundstrokes in a live rally from a central baseline position, filmed from CourtLevel behind the baseline. The contact point is consistently in front of his body with the racket face only slightly closed, and the high-speed video makes the upward, low-to-high swing path and accelerating racket head through contact clearly visible.
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24.7s |
Long Live Indian Wells? (2 of 2)
John Yandell’s court positioning sequence from a neutral baseline position, filmed from a side angle. His small adjustment steps between shots and a compact split-step just before the opponent strikes are clearly visible, showing how he fine-tunes distance to the ball while keeping a mostly neutral stance.
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1.7s |
Mysteries of the Heavy Ball: Introduction (1 of 8)
John Yandell's serve from a central baseline position, filmed from a rear court-level angle. After contact he drives his weight into the court with his back leg kicking up and his non-hitting arm folding naturally into his torso as he lands and begins recovering toward a ready position.
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8.8s |
Mysteries of the Heavy Ball: Introduction
John Yandell's serve from a central baseline position, filmed from a rear court-level angle. At contact his racket face is slightly closed with the ball struck well above head height, and the racket head accelerates on an upward, right-to-left pronation path.
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8.8s |
The Myth of Hitting Around the Ball
John Yandell's neutral stance forehand from the center of the court, filmed from a rear court-level angle. His shoulders rotate well past 90 degrees relative to the baseline on the unit turn, then uncoil in sequence with the trunk leading the arm into contact.
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3.8s |
Roger Federer and the Evolution of the Modern Forehand
Part2
John Yandell's forehand from the Deuce side, filmed from a CourtLevel rear angle. His hips stay mostly closed at contact while his legs remain flexed, with a noticeable upward drive from the back leg initiating just before impact.
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8.8s |
Roger Federer and the Evolution of the Modern Forehand
Part2
John Yandell's 1st serve from the Deuce side, filmed from a Rear angle. His continental grip is clearly visible on the racquet handle, with pronounced wrist pronation through contact as the strings turn outward toward the target.
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3.2s |
What is Tennis Con? (1 of 1)
John Yandell’s neutral-court FH filmed from a CourtLevel Side angle. His follow-through wraps fully across his body while his non-hitting hand stays back for counterbalance before he quickly recovers into a compact ready position.
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777.4s |
Shot Variations
John Yandell’s forehand from the Deuce court, filmed from a CourtLevel side angle. His hips stay closed through the loading phase with a deep knee bend, then uncoil as his rear leg drives upward and forward into contact.
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3.7s |
Your Forehand and the Modern Forehand: The Backswing - Part 1
John Yandell's forehand from the center of the court, filmed from a rear court-level angle. At contact his racket face is slightly closed with the ball struck around waist height, and the racket head accelerates steeply upward on a modern windshield-wiper path.
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571.3s |
Working with Pro Players (1 of 1)
Carlos Rodriguez stands at the side of the court during a coaching session, filmed from a court-level side angle. His hand position on the racquet throat and his cues to adjust grip pressure emphasize a relaxed wrist that firms up only at the moment of contact.
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345.6s |
Charlie Pasarell: Vision in the Desert (1 of 1)
John Yandell’s neutral-position groundstroke from mid-court, filmed from a rear angle. His shoulders and trunk are clearly coiled well past 90 degrees in the unit turn, then uncoil in sequence from hips to shoulders to arm through contact.
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563.8s |
Indian Wells 2012: Double Digits and Counting (1 of 1)
John Yandell’s neutral rally stance from mid-court, filmed from CourtLevel. His small adjustment steps into a stable, slightly open stance make it easy to see how he sets his feet before each swing and then uses short recovery steps to re-center for the next ball.
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563.8s |
Coaching Ernests Gulbis and Dominic Thiem (1 of 1)
Gunther Bresnik’s coaching session on groundstrokes from mid-court, filmed from a side angle. His instruction emphasizes a deep shoulder turn with noticeable trunk coil before uncoiling in sequence from hips to shoulders during the forward swing.
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614.4s |
Your Forehand and the Modern Forehand:The Contact Point
John Yandell’s groundstroke contact point during a live point, filmed from a court-level side angle. After contact his follow-through carries across his body while his non-hitting hand counterbalances behind him, and he quickly re-centers his stance into a compact ready position for the next shot.
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516.3s |
Indian Wells in 2014: New Dining, New Virtual World, Actual Real Tennis (1 of 2)
John Yandell’s neutral stance BH from the center of the baseline, filmed from a rear court-level angle. His shoulders rotate well past 90 degrees relative to the net on the unit turn, then the trunk uncoils ahead of the arm swing, showing a clear separation between hip and shoulder rotation despite the back issue context.
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35.9s |
A New Teaching System: Forehand: Grips Part 2 (1 of 1)
John Yandell’s forehand grip progression from the center of the baseline, filmed from a CourtLevel Side angle. The side view makes the degree of shoulder turn and timing of trunk uncoil relative to the forward swing especially clear, emphasizing how grip choice affects when the shoulders begin to rotate.
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435.5s |
A New Teaching System: The Serve: Body Rotation (1 of 1)
John Yandell's serve from a central baseline position, filmed from a rear court-level angle. His shoulders and trunk show a pronounced coil with the front shoulder dipping and the torso rotating as a unit into contact, making the sequencing of trunk uncoil into arm motion clearly visible.
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468.1s |
A New Teaching System: The Serve: Role of the Legs (1 of 1)
John Yandell's serve from a central baseline position, filmed from a side court-level angle. His motion shows a pronounced knee bend and upward leg drive that straightens through contact, with the hips thrusting forward into the court as the back heel lifts.
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398.3s |
A New Teaching System: Serving Rhythm (1 of 1)
John Yandell's serve from a central baseline position, filmed from a court-level rear angle. His teaching focus on rhythm is evident in the smooth, continuous shoulder turn into a fully coiled trunk, followed by a clearly sequenced uncoiling of the torso before the arm whips up to contact.
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414.6s |
A New Teaching System: First Serve Spins and Placements (1 of 1)
John Yandell's first serve from a stationary serving position, filmed from a likely rear or slightly off-center instructional angle. His continental grip is firm but relaxed, with a clearly visible wrist pronation through contact that keeps the racquet face aligned for varied spin and precise directional control.
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457.7s |
A New Teaching System: The Serve: Technical Elements (1 of 1)
John Yandell's serve from a central baseline position, filmed from a rear court-level angle. His footwork includes a measured platform stance with a controlled knee bend and a clear weight transfer from the back foot to the front foot into the landing.
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720.1s |
A New Teaching System: Serve: Swing Keys (1 of 1)
John Yandell’s serve swing key demonstration from a central baseline teaching position, filmed from a court-level angle. His footwork stays mostly grounded with a controlled platform stance, emphasizing a stable base and minimal weight shift before driving up into the serve.
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438.2s |
A New Teaching System: Forehand: Technical Characteristics: Part 1 (1 of 1)
John Yandell's forehand from a neutral baseline position, filmed from a side CourtLevel angle. His semi-western grip is evident in the laid-back wrist position on the forward swing, with a distinct wrist lag that unwinds just before contact.
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801.3s |
A New Teaching System: The Serve: Toss (1 of 1)
John Yandell's serve toss from the center of the baseline, filmed from a CourtLevel rear angle. His follow-through into the trophy position is marked by the tossing arm staying extended upward as his weight begins to shift forward, helping him organize his upper body for the serve.
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450.9s |
Your Forehand and the Modern Forehand:The Reverse Forehand
John Yandell's reverse forehand from the baseline, filmed from a rear angle. His hips stay relatively closed as he drives off the outside leg, with a pronounced knee bend loading into the reverse finish.
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503.3s |
Your Forehand and the Modern Forehand:Hand and Arm Rotation
John Yandell's full-body rotational movement sequence from a central court position, filmed from a side angle. The racket path is tracked frame by frame so you can see the exact moment the strings square to the contact plane relative to his torso rotation.
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402s |
Shoulder Rotation
John Yandell’s forehand from the baseline, filmed from a shoulder-level side angle. The video makes it easy to see the slightly closed racket face at contact with the ball struck just in front of his lead hip and around waist height.
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464.7s |
Your Forehand and the Modern Forehand:The Straight Elbow Hitting Arm Position
John Yandell's forehand from a neutral baseline position, filmed from a side CourtLevel angle. His shoulders make a pronounced unit turn with the hitting arm extended and elbow straight, clearly showing how the trunk coil unwinds ahead of the arm release through contact.
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536.7s |
Ultimate Fundamentals: Forehand
John Yandell's forehand from the center of the baseline, filmed from a court-level side angle. His footwork pattern into the ball features a small adjustment hop into a neutral stance, followed by a clear front-foot pivot and balanced recovery step back to ready position.
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286.6s |
Ultimate Fundamentals: Forehand (1 of 2)
John Yandell's forehand from a neutral baseline position, filmed from a court-level side angle. His shoulders turn well past 90 degrees relative to the net, with a pronounced trunk coil that then uncoils ahead of the arm swing, making the sequencing of torso rotation before racket acceleration especially clear.
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286.5s |
Your Forehand and the Modern Forehand:Hitting Arm Positions: The Double Bend
John Yandell’s forehand from a central baseline position, filmed from a close CourtLevel side angle. His semi‑western grip is clear in the way the racquet face stays slightly closed while the wrist maintains a laid‑back lag position deep into the forward swing.
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425.5s |
On Roger Federer and Rafael Nadal (1 of 1)
Robert Lansdorp interview on Roger Federer and Rafael Nadal, filmed from a front interview angle. The camera angle makes Lansdorp’s facial expressions and subtle head movements clearly visible as he discusses the differences in their contact points and racket paths.
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171.3s |
The 1 Hand versus the 2 Hand Backhand (1 of 1)
Lansdorp discusses the one-handed versus two-handed backhand from a seated interview position, filmed from a front court-level angle. His upper body rotations and shoulder alignments are easy to compare as he mimics each backhand style, clearly contrasting the degree of trunk coil and shoulder turn between the one-hander and two-hander.
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497.7s |
The Academy Ball and the Pro Drive (1 of 1)
Robert Lansdorp discusses the concept of the "academy ball" and its role in developing a pro-style drive, filmed from a standard interview angle. His hand position subtly mimics a semi-western to eastern forehand grip as he talks, with a relaxed wrist that he occasionally firms up to illustrate the moment of wrist stability at contact.
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566.8s |
Pro Tennis, College Tennis, Parents, Success in Life (1 of 1)
Robert Lansdorp interview on player development, filmed from a front camera angle in an off-court setting. His seated posture and leg position are relaxed yet grounded, underscoring his emphasis on stable lower-body fundamentals even when discussing technique conceptually.
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385.8s |
How I Developed My "Reputation" (1 of 1)
Robert Lansdorp interview about his coaching reputation, filmed from a front-facing court-level angle. His relatively stationary posture, occasional weight shifts, and hand gestures emphasize his firm, no-nonsense teaching stance as he discusses standards and expectations for players’ footwork and discipline.
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223.4s |
How are Champions Developed? (1 of 1)
Robert Lansdorp discusses his philosophy on how tennis champions are developed, filmed from a front interview angle. His hand gestures emphasize a firm, traditional grip concept and minimal wrist movement, underscoring his preference for early preparation and a stable hitting wrist.
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277.4s |
The State of American Junior Development (1 of 1)
Robert Lansdorp speaking courtside during an interview, filmed from a front-facing camera angle. His upper body stays square to the interviewer as he finishes each point with a small forward lean, then settles back to a neutral stance with hands relaxed in front of his torso.
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683.2s |
How I Developed Guga: Interviewed by John Yandell (1 of 1)
Larri Passos interview on his coaching philosophy and work with Guga Kuerten, filmed from a seated, front-facing camera angle. He explains how he teaches grips and wrist usage, including how he guides players to feel relaxed wrist positions and appropriate grip tension during stroke development.
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399.3s |
A New Teaching System: The "Imaginary" Modern Forehand (1 of 1)
John Yandell's FH from a neutral position, filmed from CourtLevel. His hips and legs move into a semi-open stance with a noticeable knee bend on the load, then extend upward and forward as the hips unwind into contact.
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362.4s |
A New Teaching System: Forehand: Stances (1 of 1)
John Yandell’s forehand stance progression from the baseline, filmed from a court-level side angle. The video makes the contact point and racket face angle easy to compare across different stances, with contact height and swing path clearly visible relative to his torso and hitting shoulder.
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348.2s |
How Djokovic Dominates Nadal (1 of 1)
Robbie Koenig's on-court interview filmed from a front, court-level angle. His upper body rotation is easy to see as he mimics trunk coil and shoulder turn with his hands while explaining how Djokovic uses his torso to attack Nadal’s forehand pattern.
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180s |
Tennisplayer Partners With Tennis Channel!
John Yandell’s deuce-court return, filmed from a rear court-level angle. His hips load in a semi-open position with a noticeable knee bend, then unwind as his legs drive upward and forward into the shot.
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30.6s |
Ultimate Fundamentals: The One Handed Backhand (1 of 1)
John Yandell's one-handed backhand from a neutral baseline position, filmed from a court-level side angle. After contact his racket finishes high with the hitting arm extended while his weight moves forward onto the front foot and the non-hitting hand tracks back into a balanced ready position.
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449.8s |
Ultimate Fundamentals: The Two Handed Backhand (1 of 1)
John Yandell's two-handed backhand from a neutral baseline position, filmed from a court-level rear angle. At contact his racket face is almost perfectly square to the ball with the contact point slightly in front of his lead hip and just below shoulder height, and the racket head tracks forward on a relatively straight path before wrapping around his body.
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442.2s |
On Novak Djokovic (1 of 1)
Mats Wilander discusses Novak Djokovic’s game from an analyst’s perspective, filmed from an off-court interview angle. His seated posture and still lower body emphasize how he conceptually breaks down Djokovic’s movement patterns, including the importance of split-step timing and balanced open-stance positioning on both wings.
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180s |
The Wow Experience (1 of 1)
Mats Wilander’s forehand from the center of the court, filmed from a front angle. His hips stay relatively closed through the loading phase with a pronounced knee bend, then unwind as his legs drive upward into contact.
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340.1s |
A New Teaching System: Forehand: Hitting Arm Structures (1 of 1)
John Yandell's forehand from a central baseline position, filmed from a side CourtLevel angle. The contact point is slightly in front of the lead hip with the racket face close to vertical, and the hitting arm structure is extended but not locked as the racket accelerates through the ball.
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405.2s |
A New Teaching System: Forehand: The Forward Swing (1 of 1)
John Yandell’s forehand forward swing sequence from a neutral court position, filmed from a side CourtLevel angle. The contact point is slightly in front of his lead hip with the racket face just a few degrees closed, and the racket head accelerates on a low-to-high path that stays on the contact line for several frames.
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361.8s |
A New Teaching System: Serve: Progressive Development (1 of 1)
John Yandell’s serve progression from the center of the baseline, filmed from a rear camera angle. His hips and legs move from a simple knee bend and partial hip turn in the early stages to a deeper knee flex and more pronounced upward leg drive as the progression advances.
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337.2s |
The Serve: A Complete Teaching Progression (1 of 1)
John Yandell's serve from a teaching progression context, filmed from a likely instructional analysis angle. His footwork emphasizes a deliberate platform stance with a measured weight transfer onto the front foot before driving up into the serve.
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423s |
A New Teaching System: The Serve: The Trophy Position (1 of 1)
John Yandell's serve from the center baseline in the trophy position, filmed from a side CourtLevel angle. His continental grip is clearly visible with a relaxed hand and distinct wrist cock, setting up pronounced wrist pronation through the hitting phase.
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370.3s |
A New Teaching System: Forehand: The Windshield Wiper (1 of 1)
John Yandell's forehand windshield wiper swing from the middle of the court, filmed from a court-level side angle. His follow-through wraps across his body with the non-hitting hand counterbalancing in front as he transfers weight forward into a compact recovery stance.
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447.9s |
A New Teaching System: Forehand: Technical Characteristics: Part 2 (1 of 1)
John Yandell's forehand from the center of the baseline, filmed from a side court-level angle. His follow-through finishes high with the racquet wrapping across his body while his non-hitting hand extends back to help counter-rotate his torso into a balanced recovery stance.
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867.1s |
The Osmosis Clinic: One-Handed Backhand
John Yandell's one-handed backhand from a neutral baseline position, filmed from a rear court-level angle. His shoulders rotate well past 90 degrees relative to the net on the unit turn, then the trunk uncoils ahead of the arm swing so the hitting shoulder lags slightly behind the torso as it comes through contact.
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358.5s |
A New Teaching System: The Serve: Swing Path (1 of 1)
John Yandell's serve from a central baseline position, filmed from a rear court-level angle. After contact his hitting arm continues on a pronounced upward-and-forward arc while his back leg steps through into the court, bringing him quickly into a balanced, square-on ready position.
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485.7s |
The Serve (1 of 1)
John Yandell's serve from the baseline, filmed from a rear court-level angle. At contact his racket face is nearly vertical with a slightly closed angle and the ball is struck well above head height as the racket head accelerates steeply upward along the right-to-left swing path.
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309.7s |
A New Teaching System: Forehand: Body Rotation (1 of 1)
John Yandell's forehand from a neutral position, filmed from a side angle. His follow-through carries his torso fully around with the non-hitting hand staying back as a counterbalance before he re-loads into a compact ready position.
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231.8s |
Getting Players on the Pathway'and Keeping Them There. (1 of 1)
Paul Lubbers discusses player development concepts from a courtside position, filmed from a side angle. His continental grip on the racquet stays relaxed with minimal wrist tension, allowing a subtle but consistent wrist set that remains stable through his demonstration movements.
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395.4s |
Team USA and the Pathway to the Top (1 of 1)
Paul Lubbers' movement and recovery patterns during a high-performance training segment, filmed from a court-level side angle. After each stroke he finishes with his weight moving forward and quickly brings both hands back on the racquet in front of his body to reestablish a compact ready position.
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430.8s |
John Yandell: Ultimate Volley Fundamentals: Backhand (1 of 1)
John Yandell's backhand volley from the net area, filmed from a side court-level angle. His hips stay relatively square to the net while a pronounced knee bend and forward leg drive are visible as he moves through the volley.
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359.8s |
Two Questions for Andy Murray
Andy Murray answers off-court questions in an interview setting, filmed from a front court-level angle. His shoulders and trunk remain relatively square to the camera, with only subtle upper-body rotation as he shifts posture while speaking.
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Ball Spin In Pro Tennis (4 of 9)
John Yandell's forehand from the middle of the court, filmed from a rear court-level angle. His semi-western grip is clear in the way the racket face stays closed with pronounced wrist lag that unwinds into a controlled pronation through contact.
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4.4s |
Hand and Arm Rotation
John Yandell's forehand from the center of the court, filmed from a rear court-level angle. At contact his racket face is nearly square to the ball with the strings slightly closed, and the contact point is well in front of his body at roughly shoulder height, indicating a flatter swing path through the hitting zone.
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6s |
Your Strokes: Vin Miller: Serve (10 of 10)
Vin Miller’s serve from a central position, filmed from the front. His weight drives into the court off the front foot before the back leg kicks behind him, and he finishes with the non-hitting arm dropping naturally as he regains a balanced ready stance.
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4.3s |
Roger Federer Serve Locations: Deuce Court
John Yandell's animation of multiple strokes from the center of the court, filmed from the front. The front view makes it easy to see how his hips and knees load symmetrically on both sides, with clear leg drive and hip rotation patterns synced to different stroke types.
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15.4s |
Pete Sampras: New Filming Protocols, Classic Motions
John Yandell's serve from the center, filmed from the front. His follow-through brings the racquet down on his left side while his weight lands clearly on the front foot, leaving him in a stable, square-on ready position.
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9.6s |
Understanding Andy Roddick's Serve Part 1
John Yandell’s groundstroke from the center of the court, filmed from a front angle. His footwork features a clear split step into a wide, stable base, transitioning into an open stance as he loads on the outside leg before pushing into the shot.
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8.5s |
Your Strokes: Vin Miller: Serve (7 of 10)
Federer's serve from the center of the baseline, filmed from the front. At contact his racket face is slightly closed with the ball struck just above full extension, and the racket head whips up and across his body on a pronounced upward swing path.
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14.5s |
Pete Sampras: New Filming Protocols, Classic Motions
John Yandell's forehand from the center of the court, filmed from the front. His follow-through finishes high with the racquet wrapping across his body while his non-hitting hand tucks in toward his torso, and he quickly returns both hands in front of his body to reestablish a neutral ready position.
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9.3s |
Your Strokes: Esaam Ismail: Serve (1 of 6)
Esaam Ismail's serve from the center of the baseline, filmed from a rear angle. After contact he lands on his front foot with his non-hitting arm dropping toward his left side before he settles into a neutral ready position.
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12.7s |
Your Strokes: Norman Ashbrooke Serve (4 of 10)
Norman Ashbrooke's serve from the center of the baseline, filmed from a rear angle. At contact his racket face is slightly tilted forward with the ball struck just above full extension, and the racket head accelerates steeply upward along the right side of his body.
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3.8s |
Your Strokes: Amber Park Forehand (5 of 10)
Amber Park's forehand from the center of the court, filmed from a rear angle. After contact her follow-through finishes high across her body while her non-hitting hand extends back slightly, and she quickly returns to a neutral ready position with both feet set on the baseline.
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9.7s |
Understanding Andy Roddick's Serve Part 1
John Yandell’s serve from the center of the baseline, filmed from a rear angle. His continental grip is firm with a relaxed wrist, allowing clear pronation through contact as the racquet edge leads and then turns outward toward the target.
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7.9s |
Roger Federer: Serve Part 2
John Yandell's serve from the center of the baseline, filmed from a rear angle. His shoulders rotate well past perpendicular to the net on the trophy phase, then uncoil in sequence with the trunk leading the arm swing into contact.
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5.9s |
The Myth of Hitting Around the Ball
John Yandell’s forehand from the middle of the court, filmed from the side. His hips load with a clear coil against a deep knee bend, then uncoil as the rear leg drives forward and extends through contact.
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3.5s |
Your Strokes: Vin Miller: Serve (2 of 10)
Federer's serve from the center of the baseline, filmed from the side. His shoulders load with a pronounced upper-body coil against the hips before uncoiling in sequence, making the degree of trunk rotation and shoulder-over-shoulder action easy to see from this angle.
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12.9s |
Your Strokes: Esaam Ismail: Serve (3 of 6)
Esaam Ismail’s serve from a central position, filmed from the side. His continental grip is evident with a relaxed hand on the handle, and the side view makes the upward wrist pronation into contact clearly visible.
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12.2s |
Your Srokes: Jeff Greenwald Serve (4 of 8)
Jeff Greenwald’s serve from the baseline, filmed from the side. His follow-through carries his hitting arm across his body while his weight lands on his front foot, bringing him quickly into a balanced ready position.
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6.3s |
John Yandell: The One Handed Pro Backhand: Part 3
John Yandell's side-to-side movement and recovery pattern, filmed from the side. After each stroke he lands on a stable outside leg and quickly brings the racquet back to a neutral position in front of his body as his feet adjust for the next ball.
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8.4s |
Your Strokes: Esaam Ismail: Serve (5 of 6)
Esaam Ismail's serve from a central baseline position, filmed from the side. His shoulder line rotates well past 90 degrees relative to the net during the trophy phase, then the trunk uncoils sequentially from hips to shoulders into contact.
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11.8s |
Your Strokes: Amber Park Forehand (6 of 10)
Amber’s forehand from a neutral position, filmed from the side. Her shoulders rotate well past 90 degrees relative to the hips on the unit turn, then uncoil in sequence with the trunk leading the arm into contact.
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7.2s |
Improving Your Service Rhythm (2 of 13)
Jeff Greenwald's serve from the baseline, filmed from the side. His follow-through carries his hitting arm well across his body as his weight lands on his front foot, quickly bringing both hands back together into a compact ready position.
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8.6s |
Hand and Arm Rotation
John Yandell's forehand from the center of the court, filmed from the side. His follow-through wraps fully across his body with the non-hitting hand counterbalancing behind him before he recovers back toward a neutral ready position.
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1.5s |
Three Secrets for Destroying Pushers (15 of 16)
John Yandell's approach shot from the center of the court, filmed from a rear angle. After contact he drives his weight forward into the court, with the racquet finishing in front as his non-hitting hand prepares him to transition quickly into a compact volley-ready position.
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6.8s |
Life in Miami (and at the Miami Open) (1 of 2)
John Yandell's approach shot from the center of the court, filmed from a rear angle. His weight drives forward through contact and he quickly brings the racquet hand across his body while the non-hitting hand extends to help him organize into a compact ready position for the next volley.
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34.5s |
Three Secrets for Destroying Pushers (4 of 16)
John Yandell's forehand approach shot from mid-court, followed by a forehand volley at net, filmed from a side CourtLevel angle. His continental grip on the volley stays firm with minimal grip change from the approach, and his wrist remains stable through contact with only a slight natural extension rather than a pronounced snap.
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5.5s |
The Road to the Desert (1 of 1)
John Yandell's forehand approach and backhand volleys from mid-court, filmed from the side. His footwork shows a clear adjustment step into a semi-open stance on the approach, followed by small, quick recovery steps after each volley.
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7.5s |
The One Handed Topspin Backhand Part 1
John Yandell's one-handed backhand from a neutral court position, filmed from a rear angle. His eastern backhand grip is clearly visible with a firm but relaxed hand, and the wrist stays laid back through the forward swing before uncoiling into contact.
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8.5s |
The Wimbledon Final 2008: A Different Story? (19 of 22)
John Yandell's backhand from the center of the court, filmed from a rear court-level angle. His shoulders and trunk are fully coiled with the hitting-side shoulder clearly turned past the baseline before uncoiling in sequence from the hips through the torso into the arm.
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9.4s |
Your Strokes: Andy Roddick's Backhand (1 of 9)
Andy Roddick's backhand from a neutral court position, filmed from an animated side angle. The animation clearly depicts his early shoulder turn and strong trunk coil, followed by a coordinated uncoiling of the torso leading the arm and racquet through contact.
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7.4s |
One Handed Backhand Part 4: The Forward Swing
John Yandell's backhand from a neutral central court position, filmed from a rear court-level angle. At contact his racket face is almost perfectly vertical with the ball struck around waist height, and the racket head accelerates on a steep low-to-high path that continues well out toward the target before wrapping across his body.
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15.3s |
Hand and Arm Rotation
John Yandell's backhand from the center of the baseline, filmed from a side CourtLevel angle. His follow-through finishes high with the hitting arm extending out toward the target while his weight transfers onto the front foot and the non-hitting hand returns quickly toward a neutral ready position.
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7.5s |
Your Strokes: Giancarlo Andreani: Two-Handed Backhand (1 of 7)
Giancarlo Andreani's two-handed backhand from a central baseline position, filmed from a side angle. His early unit turn into a neutral stance and smooth weight transfer onto the front foot are clearly visible before he rotates through the shot.
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6.1s |
September 2005 Issue
John Yandell's two-handed backhand from a neutral position, filmed from a rear court-level angle. His shoulders and trunk load with a pronounced unit turn, then uncoil in sequence so the torso rotation clearly precedes the forward swing of the arms.
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17.2s |
September 2005 Issue
Nadal's two-handed backhand from a neutral baseline position, filmed from a rear court-level angle. His footwork includes a small adjustment hop into a semi-open stance followed by a quick recovery step that brings him back toward the center of the baseline.
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17.2s |
Andy Roddick's Two-Handed Backhand
John Yandell's backhand from the center of the baseline, filmed from a side CourtLevel angle. His two-handed grip is clearly visible, with the dominant hand in a strong continental position and the off hand driving the racket head through contact as the wrists stay firm with minimal late snap.
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9.7s |
Serena's Serve and Venus's Two-Hander (1 of 7)
John Yandell's serve from a central baseline position, filmed from a side CourtLevel angle. His deep knee bend and upward leg drive into contact are clearly visible, along with the way his hips uncoil from a loaded, closed position into an open alignment toward the court.
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11.6s |
Stan Wawrinka's Backhand (1 of 11)
John Yandell's backhand from a neutral position, filmed from an animation-style side angle. His follow-through extends high with the hitting arm fully across the body while his weight transfers onto the front foot and the non-hitting hand returns quickly toward a ready position.
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8.9s |
Your Strokes: Andy Plunkett: 1-Handed Backhand (1 of 8)
Andy Plunkett's one-handed backhand from a neutral baseline position, filmed from a rear court-level angle. His eastern backhand grip is firm with noticeable wrist lag on the takeback that gradually firms up into a stable, straight wrist at contact.
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4.6s |
Indian Wells 2009: Only the Name Has Changed?? (2 of 2)
John Yandell's backhand from a neutral position, filmed from a court-level angle. His shoulders turn well past perpendicular to the net, creating a pronounced trunk coil that then uncoils in sequence from hips to shoulders into the forward swing.
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3s |
The Wimbledon Final 2008: A Different Story? (21 of 22)
John Yandell's backhand from a neutral central position, filmed from an animation-style side angle. The contact point is slightly in front of his body with the racket face close to vertical, and the swing path shows the racket accelerating up and across the ball with noticeable racket head speed through contact.
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7.7s |
The Two-Handed Backhand: Preparation and Backswing
John Yandell's two-handed backhand from a neutral position, filmed from a rear court-level angle. His follow-through finishes high with the racquet wrapping around his left shoulder as his weight transfers onto his front foot and his hands quickly return toward a ready position.
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17.7s |
Hand and Arm Rotation
John Yandell's two-handed backhand from a neutral position, filmed from a rear court-level angle. His relatively relaxed grip allows for pronounced wrist lag on the takeback that firms up into a stable, straight wrist alignment at contact.
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7.2s |
Your Strokes: Andy Plunkett: 1-Handed Backhand (2 of 8)
Federer's backhand from the center of the baseline, filmed from a rear court-level angle. After contact his racquet finishes high with the non-hitting arm retracting back, and he quickly brings both hands toward the center line to recover into a neutral ready position.
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7.8s |
Hand and Arm Rotation
John Yandell's backhand from a central baseline position, filmed from a rear court-level angle. His footwork includes a small adjustment hop into a neutral stance, followed by a controlled front-leg plant and balanced recovery step back to ready position.
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9.2s |
Using the Resources of Tennisplayer: Part 2 (2 of 3)
John Yandell's backhand at contact from a central baseline position, filmed from a graphic court-level animation angle. His feet are set in a neutral stance with a small adjustment step into contact, and there is no visible recovery step initiated until after the ball leaves the strings.
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6.2s |
Your Strokes: Giancarlo Andreani: Two-Handed Backhand (3 of 7)
Giancarlo Andreani's two-handed backhand at contact from a neutral court position, filmed from a graphic animation angle. His follow-through carries both hands up and across his body while his weight transfers onto the front foot, bringing him quickly back toward a ready position.
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6.2s |
Your Strokes: Giancarlo Andreani: Two-Handed Backhand (4 of 7)
Giancarlo Andreani's two-handed backhand from a central baseline position, filmed from a ground-level angle. The racket face is slightly closed at contact with the ball struck around waist height, and the swing path extends forward through the line of the shot with noticeable racket head acceleration.
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6.9s |
Hand and Arm Rotation
John Yandell's backhand from the center of the court, filmed from a rear court-level angle. The racket face is slightly closed at contact with the ball struck around waist height, and the swing path drives forward through the line of the shot with noticeable racket-head acceleration.
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13.1s |
Off Court Visualizations (6 of 7)
John Yandell's backhand from a neutral position, filmed from an animated side view. The contact point is shown slightly in front of his hip with a closed racket face and a steep low-to-high swing path that accelerates the racket head through the ball.
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2.6s |
The Backhand Volley: Variations
John Yandell's backhand overhead from the center of the court, filmed from a side angle. After contact he lets the racquet hand finish down across his body while his non-hitting hand stays up for balance, and he quickly regains a neutral ready stance with his weight settling back to the baseline.
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14.4s |
The Wimbledon Final 2008: A Different Story? (8 of 22)
John Yandell's backhand from the baseline, filmed from a side angle. His split-step into a semi-open stance is followed by a slightly late adjustment step, leaving him jammed on contact and limiting his ability to recover fully toward the center.
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4.9s |
John Yandell: Visual Tennis - An Alternative Approach (2 of 4)
John Yandell's backhand from the center of the baseline, filmed from a rear court-level angle. His legs load with a pronounced knee bend before extension, and his hips stay relatively closed through the unit turn before unwinding into contact.
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3.5s |
Part 2 (3 of 3)
John Yandell's backhand from a neutral baseline position, filmed from a rear court-level angle. His hips stay relatively closed at the start with a pronounced knee bend, then unwind in sync with a strong upward leg drive that straightens through contact.
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3.4s |
A New Teaching System:One Handed Backhand: Backswings (1 of 1)
John Yandell's one-handed backhand from a neutral preparation position, filmed from a side CourtLevel angle. His shoulders rotate well past 90 degrees relative to the net as the trunk coils, with the uncoiling clearly initiating from the hips and torso before the hitting arm continues the forward swing.
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258.7s |
A New Teaching System: Two Handed Backhand Grips (1 of 1)
John Yandell's backhand from the center of the court, filmed from a court-level angle. His hips stay relatively closed to the net as he sets the grip, with a noticeable knee bend that loads both legs before he initiates the upward drive into the stroke.
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377s |
A New Teaching System: Keying Your Two Hander
John Yandell's backhand from the center of the baseline, filmed from a rear court-level angle. His follow-through finishes high with the racquet wrapping across his body while his non-hitting hand extends back for counterbalance, and he quickly returns both hands in front to reestablish a neutral ready position.
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430.8s |
A New Teaching System: Building Your One Hand Backhand Model (1 of 1)
John Yandell's one-handed backhand from a neutral baseline position, filmed from a rear court-level angle. At contact his racket face is almost perfectly square to the ball with a slightly rising swing path, meeting the ball around waist height with noticeable extension through the hitting zone.
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426.5s |
A New Teaching System:One Handed Backhand Grips
John Yandell's backhand grip instruction from a neutral position, filmed from a court-level angle. His hand position on the handle emphasizes the relationship between the base knuckle of the index finger and the bevels, with a relatively firm but relaxed wrist that stays stable rather than snapping at contact.
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272.6s |
A New Teaching System:One Handed Backhand: Preparation (1 of 1)
John Yandell's one-handed backhand preparation from a neutral position, filmed from a court-level side angle. His eastern backhand grip is clearly set early with a firm but relaxed hand, and the wrist stays slightly laid back as the racquet moves into the full shoulder turn.
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253.8s |
A New Teaching System:One Handed Backhand: Recovery (1 of 1)
John Yandell's one-handed backhand recovery from a neutral position, filmed from a rear court-level angle. His shoulders and trunk uncoil together from a closed position toward neutral, with the torso rotation clearly leading the arm and racquet back into a balanced recovery stance.
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284.7s |
A New Teaching System:One Handed Backhand: Hand, Arm and Racket Rotation (1 of 1)
John Yandell's one-handed backhand from a neutral baseline position, filmed from a side angle. His eastern backhand grip is clearly visible with firm but relaxed fingers, and the video angle makes the progressive forearm and wrist rotation through contact, rather than a sudden wrist snap, especially distinct.
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209.1s |
A New Teaching System:One Handed Backhand: Stances (1 of 1)
John Yandell's backhand from the baseline, filmed from a side angle. His follow-through carries his racquet up and across while his weight moves into the court, and he quickly returns the non-hitting hand to the racquet throat to reset his ready position.
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248.3s |
A New Teaching System: Two Handed Backhand Backswings (1 of 1)
John Yandell's two-handed backhand backswing from a neutral baseline position, filmed from a side CourtLevel angle. His semi-western bottom-hand and continental top-hand grips stay quiet while the wrists remain laid back in a stable lag position until just before the forward swing initiates.
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302.1s |
A New Teaching System: Two Handed Backhand: The Forward Swing (1 of 1)
John Yandell's two-handed backhand forward swing from a neutral baseline position, filmed from a rear court-level angle. The racket face stays relatively square through contact at about waist height, with the racket head accelerating on a slightly low-to-high path directly along the intended line of flight.
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373.5s |
A New Teaching System: Two Handed Backhand Stances
John Yandell's backhand from center court, filmed from a side angle. His footwork alternates between neutral and semi-open stances, with a clear on-time split step leading into a controlled unit turn and consistent recovery step back toward the center.
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311.7s |
A New Teaching System: Two Handed Backhand Windshield Wiper (1 of 1)
John Yandell's two-handed backhand from a neutral baseline position, filmed from a rear court-level angle. His follow-through finishes high with the racquet wrapping across his body while his non-hitting hand releases and returns toward the handle as he recovers into a balanced ready position.
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223.5s |
A New Teaching System:Executing Your One Hand Backhand Model (1 of 1)
John Yandell's one-handed backhand from a neutral baseline position, filmed from a rear court-level angle. At contact, the racket face is slightly closed with the ball struck around waist height, and the swing path drives straight through the ball before wrapping up and across his body.
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314.4s |
A New Teaching System: Two Handed Backhand Preparation (1 of 1)
John Yandell's two-handed backhand from the center of the baseline, filmed from a rear court-level angle. His racket is set early with the strings slightly closed at shoulder-height contact, and the swing path moves up and across the ball with noticeable racket head acceleration through the hitting zone.
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301s |
A New Teaching System: Introduction to the Two Handed Backhand (1 of 1)
John Yandell's two-handed backhand from a neutral position, filmed from a court-level side angle. The side view makes the depth of his shoulder turn and the timing of his trunk uncoil relative to the forward swing especially clear, with the hips initiating before the shoulders complete the rotation.
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257.8s |
A New Teaching System:One Handed Backhand: Forward Swing (1 of 1)
John Yandell's one-handed backhand forward swing from a central court position, filmed from a court-level side angle. His shoulders stay closed well into the forward swing as the trunk uncoils in sequence from hips to shoulders, clearly separating upper and lower body rotation.
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306.9s |
A New Teaching System: Two Handed Backhand: Hitting Arm Shapes (1 of 1)
John Yandell's two-handed backhand from a neutral position, filmed from a side CourtLevel angle. His hips stay relatively closed through the load with a pronounced knee bend, then unwind in sync with a strong upward leg drive into contact.
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380.2s |
How Roger Federer Won Wimbledon 2006 (2 of 6)
John Yandell's backhand from a neutral court position, filmed from a side angle. The video makes the deep knee bend and upward leg drive into contact easy to see, along with how his hips stay closed longer before uncoiling through the shot.
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3s |
The Omosis Clinic Report 2007 (2 of 5)
John Yandell's backhand volley from the net position, filmed from a side angle. His follow-through finishes slightly in front with the racquet head stable as his weight moves through the shot and he quickly reforms a compact ready position with both hands on the racquet.
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3.4s |
Your Strokes: Katrina Allick Volleys (4 of 9)
Katrina Allick's backhand volley from a neutral net position, filmed from a front court-level angle. At contact her racket face is slightly open with the ball struck around waist height, and the stroke is driven mainly by a short forward punch with minimal backswing.
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2.9s |
How Rafael Nadal Won the 2006 French Open (5 of 6)
John Yandell's backhand volley from the net, filmed from a side angle. After contact he extends the racquet slightly forward with the non-hitting hand staying back for counterbalance, then quickly recoils into a compact ready position to recover for the next ball.
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3.1s |
Your Strokes: Katrina Allick Volleys (6 of 9)
Katrina Allick's backhand volley from the net area, filmed from a side CourtLevel angle. After contact her racquet finishes slightly in front of her body as her weight moves forward and she quickly brings both hands back toward a compact ready position.
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2.2s |
Your Strokes: Katrina Allick Volleys (9 of 9)
Katrina Allick's backhand volley from the net area, filmed from a side angle. Her shoulders stay relatively square to the net with only a modest trunk rotation, making the stroke driven more by a compact shoulder-forward movement than by a large coil and uncoil of the torso.
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2.3s |
Why Rafa Crushed Roger at the French 2007 (10 of 11)
John Yandell's running drop shot from neutral court position, filmed from a rear angle. His shoulders stay relatively closed as the trunk coils on the run, then uncoils late with a subtle deceleration of the upper body to soften the racket delivery into the ball.
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8.7s |
Three Secrets for Destroying Pushers (12 of 16)
John Yandell's drop shot from a neutral court position, filmed from an animation/composite angle. His follow-through is abbreviated with the racquet hand finishing softly in front as he quickly recovers his stance, bringing the non-hitting hand back toward the handle area to re-form a balanced ready position.
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3.9s |
Three Secrets for Destroying Pushers (3 of 16)
John Yandell's drop shot from a neutral court position, filmed from an animation-based analytical angle. The sequence makes the early shoulder turn and subtle trunk deceleration easy to see, as the upper body coil initiates the motion while the trunk uncoils minimally to keep the stroke compact and disguise the soft touch.
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2.6s |
Ball Spin in Pro Tennis Part 2 (12 of 14)
John Yandell's drop shot from the middle of the court, filmed from a rear angle. His continental grip is clearly visible with a soft, relaxed hand as the wrist stays laid back through contact, adding delicate underspin with a subtle, late flick.
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6.7s |
Your Strokes: Alan 1st and 2nd Serves (1 of 8)
Alan's first serve from the center hash position, filmed from a side court-level angle. His stance is a platform setup with a clear weight shift from back to front foot before an aggressive upward push off the ground.
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25.4s |
Destination Miami Open (1 of 1)
John Yandell's first serve from a central baseline position, filmed from a rear court-level angle. His continental grip is clearly visible with a relaxed hand, and the rear view makes the pronounced wrist pronation into and through contact easy to see.
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9.3s |
Your Strokes: Alan 1st and 2nd Serves (4 of 8)
Alan's first serve from a central position behind the baseline, filmed from a rear court-level angle. At contact, his racket face is slightly tilted forward with the ball struck just above full extension, and the racket head accelerates steeply upward along the right side of his body.
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20.8s |
John Yandell: Ball Speed in Pro Tennis (1 of 5)
John Yandell's first serve from a central baseline position, filmed from a rear court-level angle. His deep shoulder turn and pronounced trunk coil are clearly visible as his torso uncoils in sequence from hips to shoulders into contact.
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2.5s |
John Yandell: Ball Speed in Pro Tennis (3 of 5)
John Yandell's first serve from a wide position, filmed from a wide court-level angle. His continental grip is clearly visible with a relaxed hand, and the wrist pronates aggressively through contact to accelerate the racquet head.
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2.7s |
The Modern Pro Slice: Part 2
John Yandell's forehand from a neutral court position, filmed from a court-level angle. His follow-through wraps fully across his body while his non-hitting hand extends back to aid shoulder rotation and quick recovery into a ready position.
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3.4s |
Your Strokes: Allan Murphy Forehand (1 of 7)
Allan Murphy's forehand from a central baseline position, filmed from a court-level rear angle. His hips load into a strong coil with noticeable knee flexion before driving up through the legs into contact.
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9.9s |
Your Strokes: Anthony Forehand (1 of 9)
Anthony's forehand from the center of the baseline, filmed from a side angle. His early unit turn into a semi-open stance is followed by a small adjustment hop and a couple of quick recovery steps back to a balanced ready position.
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8.9s |
Don Budge's Forehand: Good Enough for You?
John Yandell's forehand from the center of the baseline, filmed from a court-level side angle. His footwork uses a timed split step into a semi-open stance, with a clear loading on the outside leg before a forward pivot and balanced recovery step back to the ready position.
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6.3s |
The Cincy Masters: the Next Indian Wells? (1 of 1)
John Yandell's forehand from the middle of the court, filmed from a side CourtLevel angle. At contact his racket face is slightly closed with the ball struck around waist height, and the racket head accelerates steeply upward along a modern windshield-wiper path.
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9.9s |
Measuring Change: Radar Technology in Teaching
John Yandell's forehand from the center of the baseline, filmed from a side CourtLevel angle. His footwork includes a small adjustment hop into a neutral stance, with the front foot planting just before the racquet drops into the slot.
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7.6s |
Measuring Change: Radar Technology in Teaching (1 of 10)
John Yandell's forehand from the center of the baseline, filmed from a side CourtLevel angle. The video makes it easy to see the slightly closed racket face at contact with the ball struck just in front of his lead hip and near shoulder height, with the racket head accelerating on an upward, inside-out swing path.
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7.6s |
Your Strokes: Kevin Patrick: Forehand (1 of 8)
Kevin's forehand from the center of the baseline, filmed from a rear court-level angle. His feet set in a neutral stance with a clear split-step before pivoting the outside foot to load on the right leg before the forward swing.
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3.2s |
Your Strokes: Kevin Bryant Forehand (1 of 4)
Kevin Bryant's forehand from a central baseline position, filmed from a court-level rear angle. His semi-western grip is clear, with noticeable wrist lag on the takeback that unwinds into a firm, stable wrist at contact.
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11.6s |
Your Strokes: "Modern" Club Play: The Windshield Wiper (1 of 10)
Mike's forehand from a central baseline position, filmed from a side CourtLevel angle. His follow-through wraps across his body with the non-hitting hand counterbalancing behind him before he recovers back toward a neutral ready stance.
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5s |
Your Strokes: "Modern" Club Play: The Windshield Wiper
Mike's forehand from a central baseline position, filmed from a side CourtLevel angle. His torso coils with a pronounced shoulder turn so that his hitting-side shoulder moves well behind his chin before uncoiling in sync with his hips into contact.
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5s |
Your Strokes: Paulo Caneiro: Forehand (1 of 7)
Paulo Caneiro's forehand from the center of the baseline, filmed from a side court-level angle. His footwork includes a small adjustment hop into a semi-open stance, followed by a clear pivot on the front foot as he drives through and then recovers back toward a ready position.
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11s |
The Osmosis Forehand
John Yandell's forehand from the center of the baseline, filmed from a rear court-level angle. At contact his racket face is almost perfectly vertical with the ball struck slightly in front of his lead hip, and the upward windshield-wiper swing path creates visible racket head acceleration through the contact zone.
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14.4s |
Your Strokes: Ryan Dickerson: Forehand (1 of 13)
Ryan’s forehand from the middle of the court, filmed from a side angle. His hips load by turning away from the net with a noticeable knee bend, then unwind as the rear leg drives forward into contact.
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18s |
Your Strokes: Will Campbell Forehand (1 of 5)
Will Campbell's forehand from the center of the baseline, filmed from a side CourtLevel angle. His hips load with a noticeable coil as the knees flex deeply, then extend into a strong leg drive that brings the hips through to face the net at contact.
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5.6s |
Your Strokes: Mike Widell Forehand (1 of 8)
Mike Widell's forehand from a neutral baseline position, filmed from a side CourtLevel angle. His shoulders rotate well past perpendicular to the net on the unit turn, then the trunk uncoils ahead of the arm so the torso finishes fully rotated toward the target.
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5.3s |
The Osmosis Clinic: Indian Wells 2007 (3 of 3)
John Yandell's forehand from the center of the court, filmed from a side CourtLevel angle. The video shows the racket face slightly closed at a contact point around waist height, with the racket head accelerating upward on a steep low-to-high path just in front of his lead hip.
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2.9s |
The New Indian Wells: Larry Ellison, Robert Lansdorp, Free Mojitos (3 of 5)
John Yandell's forehand from the center of the baseline, filmed from a side angle. His footwork includes a small adjustment hop into a semi-open stance, followed by a clear loading on the outside leg before driving forward into the shot.
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2.2s |
Your Strokes: Kevin Patrick: Forehand (2 of 8)
Kevin's defensive forehand from a neutral position, filmed from a court-level side angle. His shoulders rotate well past perpendicular to the net on the unit turn, then the trunk uncoils ahead of the arm so the racquet lags and whips through contact.
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5.4s |
Your Strokes: Phil Picuri Forehand (2 of 7)
Phil’s forehand from the center of the court, filmed from a side angle. His semi-western grip is evident in the closed racket face, and there is a clear wrist lag that uncoils just before contact.
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16s |
Your Strokes: Kevin Patrick: Forehand (3 of 8)
Kevin's forehand from a central baseline position, filmed from a court-level rear angle. The rear view makes the semi-western grip and the delayed wrist lag before a pronounced forward snap at contact clearly visible.
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4.2s |
How Roger Federer Won Wimbledon 2006 (4 of 6)
John Yandell's forehand from the Deuce court, filmed from a CourtLevel angle. After contact his racket wraps fully across his body while his weight continues moving into the court, and he quickly brings both hands back toward a compact ready position for the next shot.
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3.9s |
How Roger Federer Won Wimbledon 2006 (6 of 6)
John Yandell’s forehand from a central baseline position, filmed from an animated rear angle based on Roger Federer’s stroke. The contact point is slightly in front of the body with the racket face moderately closed, and the racket head accelerates upward and forward on a pronounced low-to-high swing path.
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4s |
The Two-Handed Backhand: Hand and Arm Rotation
John Yandell's backhand from a neutral baseline position, filmed from a rear court-level angle. At contact his racket face is almost perfectly vertical with the ball struck around waist height, and the swing path continues low-to-high with noticeable racket head acceleration through the hitting zone.
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15.5s |
The Myth of Hitting Around the Ball
John Yandell's forehand from the center of the court, filmed from a side angle. His hips load in a closed position with deep knee flexion, then uncoil as his legs drive upward and forward into contact.
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8.6s |
Your Strokes: Phil Picuri Forehand (7 of 7)
Phil Picuri's wide forehand from the deuce side, filmed from a side court-level angle. His footwork includes a quick adjustment shuffle into an open stance before contact, followed by a pronounced recovery step back toward the center.
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3.8s |
Mysteries of the Heavy Ball: Introduction (4 of 8)
John Yandell's forehand from a neutral baseline position, filmed from a court-level side angle. His hips load with a pronounced coil against a deep knee bend, then uncoil as the rear leg drives forward to initiate rotation into contact.
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5.9s |
John Yandell: Visual Tennis - An Alternative Approach (3 of 4)
John Yandell's forehand from a central baseline position, filmed from a close-up side angle focused on the hitting arm. His footwork includes a compact adjustment step into a neutral stance, with the outside foot planting first before the front foot pivots to align the hips and shoulders into the swing.
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3.9s |
Mysteries of the Heavy Ball: Introduction (2 of 8)
John Yandell's forehand from a central baseline position, filmed from a rear CourtLevel angle. His semi‑western grip is paired with a pronounced wrist lag on the forward swing, with the racquet head trailing well behind the hand until just before contact.
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5.8s |
May 2005 Issue
John Yandell's forehand from the middle of the court, filmed from a rear CourtLevel angle. His follow-through finishes high across his body while his non-hitting hand quickly returns to the racket throat as he recovers back into a compact ready position.
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7.1s |
May 2005 Issue
Federer's forehand from the middle of the court, filmed from a rear angle. His eastern forehand grip is clear, with noticeable wrist lag on the racquet head before a relaxed but controlled release through contact.
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7.1s |
Novak Djokovic's Forehand: The Full Turn and the Backswing
Fred's forehand from a central baseline position, filmed from a court-level angle. His compact split step leads into a semi-open stance with a clear right-foot pivot before driving into the shot.
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8.1s |
Novak Djokovic's Forehand: The Full Turn and the Backswing (1 of 23)
Fred's forehand from a neutral middle-court position, filmed from a side angle in slow motion. His hips load with a clear coil against a deep knee bend, then uncoil as his legs drive upward and forward into the shot.
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8.1s |
Novak Djokovic's Forehand: The Full Turn and the Backswing
Fred hits a forehand from a neutral baseline position, filmed from a court-level side angle in slow motion. His semi-western grip is clear as his wrist stays laid back through the forward swing before releasing slightly through contact.
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8.1s |
Your Strokes: Megan Mathews Forehand (2 of 7)
Megan Mathews's forehand from the Deuce side, filmed from a rear CourtLevel angle. Her shoulders rotate well past perpendicular to the net on the unit turn, then her trunk uncoils ahead of the arm to initiate the forward swing.
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5.1s |
Your Strokes: Megan Mathews Forehand (3 of 7)
Megan Mathews's forehand from the contact zone position, filmed from a court-level angle. Her feet set up in a solid neutral stance with a small adjustment step just before contact, followed by a short recovery step that prepares her to move for the next ball.
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3.6s |
Your Strokes: Megan Mathews Forehand (4 of 7)
Megan's forehand from the middle of the baseline, filmed from a rear court-level angle. At contact her racket face is slightly closed with the ball struck around waist height, and the racket head accelerates steeply upward along a low-to-high swing path.
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3.7s |
John Yandell: Visual Tennis - An Alternative Approach (1 of 4)
John Yandell's forehand from a central baseline position, filmed from a rear CourtLevel angle. At contact his racket face is slightly closed with the ball struck just in front of his lead hip, and the racket head accelerates on a low-to-high path that finishes around shoulder height.
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3s |
John Yandell: Visual Tennis - An Alternative Approach
John Yandell's forehand from the center of the baseline, filmed from a rear court-level angle. The footage makes it easy to see his slightly closed racket face at contact with the ball struck around waist height and the racket accelerating steeply up and across the contact line.
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3s |
Shoulder Rotation
John Yandell's forehand from the center of the baseline, filmed from a side angle. His hips stay closed through the loading phase with a deep knee bend, then rotate aggressively as the back leg drives up and through into the finish.
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2.4s |
Your Forehand and the Modern Forehand:The Forward Swing Part 1: Extension
John Yandell's forehand from a central court position, filmed from a side CourtLevel angle. His semi-western grip is clear as his wrist stays laid back through the forward swing, with a pronounced lag maintained up to just before contact.
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467.5s |
Your Forehand and the Modern Forehand: A Summary
John Yandell's forehand from the center of the court, filmed from a mixed rear/side CourtLevel angle. His shoulders rotate well past 90 degrees relative to the net on the unit turn, then uncoil in sync with trunk rotation so the hitting shoulder leads the kinetic chain into contact.
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813s |
Your Forehand and the Modern Forehand: A Summary
John Yandell's forehand from a central court position, filmed from a mixed side and rear animation angle. His hips load with a pronounced coil against a deep knee bend, then uncoil aggressively as the legs drive up and into the court to initiate forward rotation.
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9.5s |
A New Teaching System: Forehand: Grips (1 of 1)
John Yandell’s forehand grip instruction from the center of the baseline, filmed from a court-level side angle. His hand position clearly shows how the bevel change affects wrist alignment, with a pronounced laid-back wrist lag maintained into the forward swing.
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419.1s |
Your Forehand and the Modern Forehand: Preparation
John Yandell's forehand from a neutral hitting position, filmed from a side angle in a Federer-style animation sequence. His hips and legs move through a pronounced loading phase with deep knee flexion, followed by clear hip uncoiling and upward leg drive into contact.
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4.2s |
A New Teaching System: The Forehand Keying Process (1 of 1)
John Yandell's forehand from a central baseline position, filmed from a court-level side angle. His recovery emphasizes a full wrap-around follow-through with the hitting arm while the non-hitting hand returns quickly toward the torso as he regains a neutral ready position.
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392.9s |
A New Teaching System: Forehand: Preparation Part 1 (1 of 1)
John Yandell's forehand preparation from a central baseline position, filmed from a rear court-level angle. His semi-western grip and relaxed hand position make the early wrist layback easy to see as the racquet moves into the preparation phase.
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411s |
A New Teaching System: Forehand Progressive Development (1 of 1)
John Yandell's forehand from a central baseline position, filmed from a rear court-level angle. His hips and legs load with a pronounced knee bend and delayed hip rotation, driving upward and forward as the racket moves into contact.
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429.7s |
A New Teaching System: Forehand: The Wrist (1 of 1)
John Yandell's forehand from a neutral position, filmed from a court-level angle. His hips stay relatively closed as the legs load, with a distinct knee bend that supports a compact leg drive into contact.
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398.7s |
A New Teaching System: Forehand: More on The Wrist (1 of 1)
John Yandell's forehand from a central baseline position, filmed from a side CourtLevel angle. His extreme grip forehand shows a semi-open stance with a pronounced wrist laid-back position as he plants the outside foot before rotating into contact.
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318.8s |
Part 2 (2 of 3)
John Yandell's forehand from the center of the baseline, filmed from a court-level side angle. His shoulders rotate well past 90 degrees in the unit turn, with a pronounced trunk coil that uncoils sequentially from hips to shoulders into contact.
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2.6s |
The Wimbledon Final 2008: A Different Story? (18 of 22)
John Yandell's forehand volley from the net, filmed from a front camera angle. His knees stay flexed with a compact forward step from the front leg, while the hips remain relatively quiet with minimal rotation to keep the body stable through contact.
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15.9s |
December 2007 Issue
Flash's forehand volley from the net area, filmed from a front angle. The racket face is slightly open at contact with the ball meeting the strings just in front of the leading hip at about chest height, and the swing path is short with minimal backswing.
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7.3s |
December 2007 Issue
John Yandell's forehand volley from the net, filmed from a side angle. His compact split step into a neutral stance and short forward adjustment steps are clearly visible as he moves through the volley and recovers toward the center.
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7.3s |
Your Strokes: Katrina Allick Volleys (2 of 9)
Katrina Allick's forehand volley from a neutral net position, filmed from a front angle. The racket face is slightly open at contact with the ball meeting the strings just in front of her body at about chest height, and the compact swing path keeps the racket head moving directly through the line of the shot.
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5.6s |
John Yandell: Backhand Volley
John Yandell's forehand volley from the net, filmed from a court-level side angle. At contact his racket face is slightly open with the ball meeting the strings just in front of his front hip, and the compact forward swing path keeps the racket head moving almost straight through the contact zone.
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5.6s |
What is ISR? The Forehand Volley
John Yandell's forehand volley from the net, filmed from a side angle. His knees stay flexed with a short, driving step through the ball as his hips remain relatively square to the net for stability.
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6.4s |
Your Strokes: Katrina Allick Volleys (3 of 9)
JY’s forehand volley from a central net position, filmed from a side CourtLevel angle. The side view makes it easy to see her continental grip and how her wrist stays firm with minimal wrist snap through contact.
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2.5s |
How Roger Federer Won Wimbledon 2006 (5 of 6)
John Yandell's forehand volley from the deuce side, filmed from a court-level front angle. His compact split step transitions quickly into a short forward adjustment step, setting a neutral stance with the outside foot planting just before contact.
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3s |
Your Strokes: Katrina Allick Volleys (5 of 9)
Katrina Allick's forehand volley from the net, filmed from a court-level front angle. After contact she finishes with the racquet head slightly up and in front while her weight moves forward and she quickly brings both hands back toward a compact ready position.
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3.7s |
Your Strokes: Katrina Allick Volleys (8 of 9)
Katrina Allick's forehand volley from the net area, filmed from a front court-level angle. Her knees stay softly flexed with a subtle forward weight shift from back leg to front leg as her hips stay relatively square to the net through contact.
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2.8s |
Ball Spin in Pro Tennis Part 2 (9 of 14)
John Yandell's forehand volley from the net, filmed from a side court-level angle. His continental grip is firm with a slightly laid-back wrist, and you can see the wrist stay stable through contact with only a subtle forward hinge after impact.
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2.6s |
Ball Spin in Pro Tennis Part 2 (8 of 14)
John Yandell's forehand volley from the net on the deuce side, filmed from a court-level side angle. His continental grip is firm with minimal wrist motion, and you can see a subtle laid-back wrist position maintained through contact to control spin.
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5.7s |
John Yandell: Ultimate Volley Fundamentals: Forehand (1 of 1)
John Yandell's forehand volley from the net, filmed from a side angle. His compact split step into a neutral stance and short forward adjustment step are clearly visible as he moves to meet the ball in front of his body.
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377.8s |
Your Strokes: John Daly: Serve Part 2 (10 of 13)
John Daly's serve from the center of the baseline, filmed from a rear court-level angle. After contact, his racquet finishes on the opposite side of his body while his back leg swings forward to aid recovery into a balanced ready position.
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5.5s |
John Yandell: Classical Tennis and Modern Tennis
John Yandell's two-handed backhand from a neutral baseline position, filmed from a side CourtLevel angle. His shoulders and trunk coil well past 90 degrees on the unit turn, then uncoil in sequence with the hips leading and the upper torso and shoulders following into contact.
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5.7s |
Your Strokes: John Daly: Serve Part 2 (1 of 13)
John Daly's serve from a central baseline position, filmed from a rear court-level angle. After contact he lands on his front (left) foot and lets his hitting arm finish across his body while his non-hitting hand drops and he quickly begins to square his shoulders back into a ready position.
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8.3s |
Your Strokes: Rohan Gupta Forehand (1 of 19)
Rohan Gupta's forehand from a central baseline position, filmed from a court-level front angle. His follow-through finishes high across his body with his non-hitting hand extending back for balance before he recovers into a ready position.
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2.8s |
Your Strokes: Rohan Gupta Forehand (2 of 19)
Rohan Gupta's forehand from the center of the baseline, filmed from a side court-level angle. His semi-western grip is evident in the closed racket face on the backswing, and you can see pronounced wrist lag that unwinds into a sharp pronation through contact.
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4.1s |
One Handed Backhand Part 4: The Forward Swing
John Yandell's forehand from a neutral position, filmed from a side animation angle. His shoulders rotate well past perpendicular to the net on the unit turn, then uncoil ahead of the hips so the trunk rotation clearly leads the hitting arm through contact.
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8.6s |
Your Strokes: Rohan Gupta Forehand (4 of 19)
Rohan Gupta's forehand from the center of the baseline, filmed from a side court-level angle. The contact point is slightly in front of his lead hip with the racket face marginally closed, and the racket head accelerates upward on a low-to-high path through contact.
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5.3s |
John Yandell: Del Potro's Forehand Analyzed (7 of 14)
John Yandell's forehand from a central baseline position, filmed from a side CourtLevel angle. His shoulders coil significantly past 90 degrees relative to the net before contact, with a pronounced trunk uncoil that clearly precedes and drives the forward motion of the hitting arm.
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8s |
Your Strokes: John Daly Serve Part 1 (7 of 7)
John's serve from a neutral position, filmed from a side angle. His shoulders and trunk coil deeply away from the court before uncoiling in sequence, with the torso rotation clearly leading the arm swing through contact.
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11.6s |
Your Strokes: Rohan Gupta Forehand (7 of 19)
Rohan Gupta's forehand from the center of the baseline, filmed from a side angle. His footwork features a clear split-step into a semi-open stance, with a pronounced weight transfer from the back leg as he pivots and steps through the shot.
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4.1s |
Your Strokes: John Daly: Serve Part 2 (8 of 13)
John Daly's serve from the center of the baseline, filmed from a rear court-level angle. His feet load in a platform stance with minimal leg drive, and he uses a small adjustment step with the back foot before swinging to maintain alignment into the court.
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8.9s |
Your Strokes: Rohan Gupta Forehand (8 of 19)
Rohan Gupta's forehand from a neutral baseline position, filmed from a side angle. His hips load by turning away from the net with a noticeable knee bend, then unwind as his back leg drives forward into contact.
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7.6s |
The Two-Handed Backhand: Preparation and Backswing
John Yandell’s forehand from the center of the baseline, filmed from a rear court-level angle. His semi-western grip is evident in the strong wrist lag on the forward swing, with the wrist maintaining a laid-back position until just before contact.
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11.5s |
Ball Spin in Pro Tennis Part 2 (11 of 14)
John Yandell's overhead from the center of the court, filmed from a rear camera angle. His follow-through finishes across his body with his non-hitting hand staying up for balance before he quickly recovers back into a neutral ready position.
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7.4s |
Part 2 (1 of 3)
John Yandell's backhand from the center of the court, filmed from a small, close CourtLevel angle. His two-handed grip stays compact with limited wrist extension, making the stable, slightly laid-back hitting wrist easy to see through contact.
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3s |
Your Strokes: John Daly: Serve Part 2 (11 of 13)
John Daly's serve from the center of the baseline, filmed from a rear angle. His continental grip is clearly visible with a relaxed hand, and you can see pronounced wrist pronation as the racquet accelerates up and through the ball.
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5.3s |
What is "True" in Tennis?
John Yandell's return from a neutral central position, filmed from a rear court-level angle. His follow-through finishes high with the racquet wrapping across his body as his weight transfers forward and he quickly resets both hands on the handle into a compact ready position.
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4.3s |
Anticipating the Serve
John Yandell's return from a neutral position, filmed from a court-level rear angle. His shoulders coil early as the trunk rotates away from the net, then uncoil in a clearly sequenced motion from hips through torso to shoulders just before contact.
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8.2s |
The Meaning of Hamburg for Roger and Rafa (4 of 5)
John Yandell's return from a neutral position, filmed from a rear court-level angle. His compact split step into a semi-open stance is followed by a quick pivot and crossover recovery step that keeps his weight moving back toward the center of the baseline.
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4.2s |
Roger's Revenge: Wimbledon 2007 (8 of 15)
John Yandell's forehand from a central baseline position, filmed from a rear court-level angle. His compact split step into an open stance followed by a quick pivot and small adjustment steps into contact is clearly visible before he recovers back toward the center.
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11.6s |
Ball Spin in Pro Tennis Part 2 (3 of 14)
John Yandell's backhand return from a neutral position, filmed from a rear court-level angle. His follow-through finishes high with the racquet wrapping across his body while his weight transfers diagonally forward, allowing him to recover quickly into a compact two-handed ready position.
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2.1s |
Ball Spin in Pro Tennis Part 2 (2 of 14)
John Yandell's backhand return from a central return position, filmed from a rear court-level angle. His compact split step into a semi-open stance sets up a short pivot and minimal crossover, enabling a quick weight transfer into the ball with an efficient recovery step back to center.
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5.6s |
Ball Spin in Pro Tennis Part 2 (5 of 14)
John Yandell's backhand return from a neutral position, filmed from a rear court-level angle. His early shoulder turn creates a pronounced trunk coil, and you can see the torso uncoil ahead of the arm swing, indicating clear kinetic chain sequencing from hips through shoulders into the racquet.
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10.1s |
John Yandell: Ball Speed in Pro Tennis (5 of 5)
John Yandell's backhand return from a neutral position, filmed from a rear angle. His shoulders make a pronounced unit turn with the trunk coiling early, then uncoiling in sync with the forward swing so the torso rotation clearly links the racquet speed to the incoming ball speed.
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2.2s |
John Yandell: Ball Speed in Pro Tennis (4 of 5)
John Yandell's forehand return from a central return position, filmed from a court-level angle. His compact split step into a semi-open stance is followed by a short lateral adjustment and a single recovery step that keeps his weight centered on the baseline.
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2s |
Ball Spin in Pro Tennis Part 2 (1 of 14)
John Yandell's forehand return from the deuce court, filmed from a rear court-level angle. At contact his racket face is slightly closed with the ball struck around waist height, and the racket head accelerates steeply upward on a low-to-high path to impart heavy topspin.
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7.2s |
The Evolution of Cincy Tennis (1 of 1)
John Yandell's neutral FH from the middle of the court, filmed from CourtLevel Side. After contact his racquet wraps fully across his body while his non-hitting hand extends back for counterbalance, and he quickly regains a compact ready position with his weight settling on his front foot.
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252.6s |
Ball Spin in Pro Tennis Part 2 (4 of 14)
John Yandell's forehand return from the deuce court, filmed from a rear court-level angle. His compact unit turn into a semi-open stance and small adjustment steps before contact are clearly visible as he sets up to handle the heavy incoming spin.
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7.4s |
Tour Strokes: Dominic Thiem Second Serve (1 of 7)
John Yandell's second serve from a central baseline position, filmed from a court-level rear angle. His footwork includes a controlled platform stance with minimal rocking motion before the knee bend, keeping both feet grounded until a compact push-off into the court.
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6.9s |
Tour Strokes: Andy Murray's Serve (2 of 6)
John Yandell's second serve from a central baseline position, filmed from a side CourtLevel angle. His deep knee bend and strong upward leg drive into the court are clearly visible, along with the hips uncoiling from a coiled, closed position into contact.
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9.7s |
Your Strokes: Alan 1st and 2nd Serves (7 of 8)
Alan's second serve from a central baseline position, filmed from a side angle. The side view makes the degree of shoulder over-rotation and the timing of his trunk uncoil into contact easy to compare between his first and second serve motions.
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10.9s |
A New Teaching System: The Second Serve (1 of 1)
John Yandell's second serve from a central baseline position, filmed from a rear court-level angle. His continental grip is clearly visible with a relaxed hand, and you can see pronounced wrist pronation through contact as the racquet edge leads and then turns outward.
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323.4s |
A New Teaching System: Second Serve Spins and Placements (1 of 1)
John Yandell's second serve from a central baseline position, filmed from a rear court-level angle. His follow-through brings the racquet across his body while his non-hitting hand lowers into a relaxed position, allowing him to land inside the court and quickly organize into a balanced ready stance for the next shot.
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364.5s |
The Wimbledon Final 2008: A Different Story? (11 of 22)
John Yandell's slice BH from a neutral position, filmed from an animation-style CourtLevel side angle. The racket face is noticeably open at contact with the ball struck slightly below net height, and the swing path moves down and through with a distinct acceleration of the racket head past the hand.
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11.6s |
The Wimbledon Final 2008: A Different Story? (13 of 22)
John Yandell's BH Slice from a neutral position, filmed from an animation-style side angle. His shoulders turn well past 90 degrees relative to the net, with a pronounced trunk coil that then uncoils in sync with the hitting arm to keep the racket face stable through contact.
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7.1s |
John Yandell: Classical Tennis and Modern Tennis
John Yandell's slice from the center of the court, filmed from a side angle. His footwork features a small adjustment step into a closed stance, with the front foot planting early to support the forward weight transfer through the slice.
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8.5s |
The Pro Slice and Your Slice
John Yandell's slice from a neutral court position, filmed from a side angle. His continental grip is clearly visible with a firm but relaxed hand, and the wrist stays laid back through contact with a subtle downward carving motion.
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4.4s |
The Pro Slice and Your Slice
John Yandell's slice from the center of the baseline, filmed from a side angle. His footwork includes a small adjustment step into a closed stance, with the front foot planting diagonally toward the net as he drives the racquet through the ball.
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5.9s |
How Roger Federer Won Wimbledon 2006 (3 of 6)
John Yandell’s backhand slice from the backcourt, filmed from a rear camera angle. His shoulders turn well past perpendicular to the baseline, creating a pronounced upper-body coil that then uncoils in sync with the non-hitting arm retracting to stabilize the trunk through contact.
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2.6s |
The Modern Pro Slice: Part 1
John Yandell's forehand slice from the center of the court, filmed from a rear angle. His follow-through finishes with the racquet hand traveling across his body while his non-hitting hand extends back slightly, helping him recover quickly into a balanced ready position.
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7.1s |
The Modern Pro Slice: Part 1
John Yandell's forehand slice from the middle of the court, filmed from a rear court-level angle. The racket face is noticeably open at contact with the ball struck around waist height, and the swing path moves down and across the body with a controlled deceleration of the racket head.
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7.2s |
The Modern Pro Slice: Part 1
John Yandell's forehand slice from a neutral position, filmed from an animation-style side angle. His follow-through finishes with the racquet face staying slightly open as his weight transfers forward and he quickly brings both hands back toward a compact ready position.
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7.2s |
New Teaching Method: Slice Backhand Ball Flights (4 of 20)
John Yandell's slice backhand from a neutral position, filmed from a side angle. The side view makes the early shoulder turn and sustained trunk side-on orientation clear, with the torso uncoiling later and less aggressively than on a topspin backhand to support the more level, skidding ball flight.
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4.1s |
Your Strokes: Carl Sutherland: Slice Backhand (5 of 7)
Carl Sutherland's backhand slice from a neutral position, filmed from a side angle. His continental grip stays firm with a slightly laid-back wrist that remains stable through contact, emphasizing a controlled cutting motion on the ball.
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7.4s |
How Rafael Nadal Won the 2006 French Open (6 of 6)
John Yandell's backhand slice from the ad side, filmed from a rear court-level angle. The racket face is noticeably open at contact with the ball struck around waist height, and the swing path shows a distinct high-to-low motion that keeps the racket head moving smoothly through the hitting zone.
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3.7s |
The Backhand Volley: Variations
John Yandell's BH Slice from a neutral position, filmed from a side CourtLevel angle. His shoulders turn well past 90 degrees relative to the net as his trunk coils early, then uncoils sequentially from hips to shoulders to arm through contact.
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13.6s |
The One Handed Topspin Backhand Part 1
John Yandell's slice from the center of the court, filmed from a side angle. The racket face is noticeably open at contact with the ball struck around waist height, and the swing path moves clearly downward and forward to create underspin.
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15s |
Your Strokes: Carl Sutherland: Slice Backhand (7 of 7)
Henman's backhand slice from a neutral baseline position, filmed from a side CourtLevel angle. The racket face stays slightly open at contact with the ball struck around waist height, and the racket head moves on a distinctly downward, forward path through impact.
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4.4s |
Why Rafa Crushed Roger at the French 2007 (8 of 11)
John Yandell's low cross-court slice from a neutral position, filmed from a court-level side angle. His continental grip is firm with the wrist slightly laid back, maintaining that extension through contact to keep the racquet face stable on the low, skidding trajectory.
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5.3s |
Your Strokes: Bryan Yeager One Handed Backhand (8 of 10)
Flash's one-handed backhand slice from the baseline, filmed from a rear court-level angle. His hips stay relatively closed with a pronounced knee bend on the front leg, giving a low, stable base through contact.
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9.3s |
Ball Spin in Pro Tennis Part 2 (6 of 14)
John Yandell's backhand slice from the backcourt, filmed from a rear court-level angle. His hips stay relatively closed as he loads on a flexed front knee, with the back leg trailing and lightly skimming the court to stabilize the low, forward-driving slice.
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5.6s |
Ball Spin in Pro Tennis Part 2 (7 of 14)
John Yandell's forehand slice from the deuce court, filmed from a rear court-level angle. His staggered neutral stance sets up early with a small adjustment step, and he uses a compact recovery shuffle to return to the center after contact.
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4.6s |
Ball Spin In Pro Tennis (7 of 9)
John Yandell's backhand slice from a neutral court position, filmed from a side angle. His stance stays mostly neutral with a pronounced forward step and controlled deceleration of the front leg as he carves under the ball.
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4.1s |
Mysteries of the Heavy Ball: Introduction (6 of 8)
John Yandell's slice serve from a central deuce-court position, filmed from a rear court-level angle. His footwork includes a compact pinpoint stance with the back foot drawing up to the front, followed by a pronounced front-leg drive and clear landing well into the court that sets up an immediate recovery step.
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6.4s |
New Teaching Method: The Classic Slice (1 of 1)
John Yandell's slice from the center of the court, filmed from a court-level angle. His continental grip is clearly visible with a firm but relaxed hand, and the extended hitting arm shows a stable wrist with minimal ulnar deviation through contact.
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378.6s |
New Teaching Method: The Modern Slice (1 of 1)
John Yandell's slice from the center of the court, filmed from a rear angle. The racket face is noticeably open at contact with the ball struck around waist height, and the swing path moves steeply downward to create heavy backspin.
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270.1s |
New Teaching Method: The Slice Backhand Part 1 (1 of 1)
John Yandell's slice backhand from a neutral baseline position, filmed from a court-level side angle. His shoulders rotate well past perpendicular to the net on the unit turn, then the trunk uncoils in sync with the hitting arm so the shoulders stay slightly closed through contact, emphasizing a long, level extension through the ball.
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251s |
Ultimate Fundamentals: The One Handed Backhand Slice (1 of 1)
John Yandell's one-handed backhand slice from a neutral baseline position, filmed from a court-level side angle. His continental grip and relatively firm wrist position are clear, with minimal wrist hinge through the swing and a stable racquet face angle into and through contact.
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306.6s |
New Teaching Method: The Extreme Slice Backhand Model (1 of 1)
John Yandell's slice backhand from the center of the baseline, filmed from a rear court-level angle. His footwork features a measured adjustment into a closed stance with a pronounced front-foot plant that anchors the body before he carves the ball.
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250.8s |
New Teaching Method: The Classic Slice Backhand Model (1 of 1)
John Yandell's slice backhand from the baseline, filmed from a side CourtLevel angle. His hips stay relatively closed while the back leg extends and the front knee flexes into a pronounced forward-leaning stance that supports the classic sideways slice motion.
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249.9s |
New Teaching Method: The Modern Slice For Two Handers (1 of 1)
John Yandell's slice from the center of the court, filmed from a rear court-level angle. His footwork includes a small adjustment step into a neutral stance, with the front foot planting diagonally forward to support the upper-body turn into the slice.
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312.6s |
United States