The Serve Toss (10 of 103)
Kerry Mitchell's serve toss from a neutral central position, filmed from a side court-level angle. Her knees stay softly flexed with minimal leg drive as the tossing arm rises, while the hips remain relatively quiet and stacked over the legs to set a stable base for the toss.
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5.4s |
The Lesson Process: Forehand (11 of 13)
Kerry Mitchell's forehand backswing animation from a neutral court position, filmed from a side angle. The racket head drops below the expected contact point with a slightly closed face as it moves on a low-to-high swing path into the hitting zone.
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3.8s |
The Lesson Process: Forehand (10 of 13)
Kerry Mitchell's forehand forward swing demonstration from a central 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, helping his torso decelerate into a balanced recovery stance.
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3.1s |
The Lesson Process: The Serve: Part 1 (10 of 15)
Kerry Mitchell’s serve demonstration from a central teaching position, filmed from a CourtLevel front angle. His hips stay relatively level over a strong base while the knees flex and extend in sync, emphasizing leg drive upward through contact.
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4.1s |
The Lesson Process: The Backhand (10 of 12)
Kerry Mitchell’s backhand contact position animation from center court, filmed from a side angle. The sequence clearly illustrates a firm eastern backhand grip with the wrist laid back at contact, keeping the racquet face stable through the hitting zone.
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2.8s |
Kerry Mitchell: The Overhead (9 of 12)
Kerry Mitchell’s overhead movement drill at the net, filmed from a side court-level angle. Her hips and legs use quick cross-steps forward, with noticeable knee flex and a strong push off the outside leg to drive into position under the ball.
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7.9s |
The Lesson Process: The Serve: Part 2 (10 of 17)
Federer's serve from a balanced landing position, filmed from a side animation angle. The animation clearly depicts his shoulders staying tilted as the trunk uncoils upward, with the torso rotation completing before the landing foot fully stabilizes.
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4.7s |
Kerry Mitchell: True Alignment (10 of 10)
Kerry Mitchell’s forehand technique lesson on true alignment, filmed from a side court-level angle. His stance transitions from a neutral setup into a semi-open position with a clear, deliberate front-foot plant that sets the alignment of his hips and shoulders before the forward swing.
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7.2s |
Personality and Playing Style (10 of 18)
Lleyton Hewitt's groundstrokes from a neutral baseline position, filmed from a side animation angle. His semi-western grip and firm but relaxed wrist position make the wrist lag and late snap at contact very easy to see in this view.
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5.1s |
The Drop Shot (10 of 13)
Nadal's forehand drop shot from a neutral position, filmed from a front animation angle. At contact the racket face is slightly open with the head decelerating and traveling more downward than forward to impart soft underspin just below net height.
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5.6s |
The Forehand Return (10 of 14)
Kerry Mitchell's ready position for the forehand return from the center of the baseline, filmed from a front court-level angle. The racket is held in front of the body with the strings roughly vertical and the contact-ready position set around waist to mid-torso height, allowing for a short, direct swing path to the ball.
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3.9s |
The Lesson Process: Forehand (12 of 13)
Kerry Mitchell's forehand teaching animation from a central court position, filmed from a side animation angle. The hips and legs are shown loading with a clear knee bend and sequential hip rotation driving the forward swing.
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15.9s |
The Drop Shot (11 of 13)
Novak Djokovic's drop shot from the middle of the court, filmed from a front angle. After contact he lets the racquet finish softly in front of his body while his weight stays slightly forward, quickly bringing both hands back toward a compact ready position.
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2.2s |
The Lesson Process: The Serve: Part 2 (11 of 17)
Kerry Mitchell’s serve contact position from a central baseline teaching position, filmed from a side CourtLevel angle. The shoulder line is fully rotated with a pronounced trunk coil, and you can clearly see the sequential uncoiling from the hips through the torso into the hitting shoulder at the moment of contact.
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3.5s |
The Lesson Process: The Serve: Part 1 (11 of 15)
Kerry Mitchell’s serve from a stationary, sideways teaching position, filmed from the side. The racket face can be seen moving from a closed position in the trophy phase to a more neutral angle at contact, with contact occurring slightly above head height along an upward swing path.
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3.1s |
Kerry Mitchell: The Overhead (10 of 12)
Kerry Mitchell’s overhead from the center of the court, filmed from a rear angle. After contact, his racket follow-through finishes across his body while his non-hitting hand drops and his feet recover back toward a neutral ready position.
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3.5s |
The Lesson Process: The Backhand (11 of 12)
Kerry Mitchell’s backhand teaching animation from a neutral court position, filmed from a side angle. The shoulder and trunk rotation are broken down frame by frame, clearly illustrating the degree of shoulder turn in the unit turn and the timing of the trunk uncoil relative to the arm swing.
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3.7s |
The Forehand Return (11 of 14)
Kerry Mitchell's forehand return footwork sequence from a neutral court position, filmed from a side animation angle. The side view makes it clear that the wrist stays relatively firm with minimal lag, matching a conservative grip that keeps the racquet face stable through the split-step and into the unit turn.
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6.5s |
The Lesson Process: Forehand (13 of 13)
Kerry Mitchell’s forehand finish animation from a central teaching position, filmed from a side/court-level instructional angle. The sequence emphasizes how the shoulders stay turned through contact before the trunk uncoils fully into the finish, with the hitting-side shoulder rotating across and up as the kinetic chain completes.
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3.8s |
Kerry Mitchell: The Overhead (11 of 12)
Kerry Mitchell's overhead from the center of the court, filmed from a court-level angle. Her continental grip is evident with a firm but relaxed wrist that pronates through contact, creating a distinct wrist snap just after striking the ball.
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4.5s |
Personality and Playing Style (12 of 18)
Elena Dementieva's groundstroke animation from a central baseline position, filmed from a side CourtLevel 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 pronounced low-to-high swing path.
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7.4s |
The Lesson Process: The Serve: Part 2 (12 of 17)
Federer's serve from a stationary, edge-on teaching position, filmed from a side animation angle. His follow-through drives his weight forward into the court, and he quickly regains a balanced, upright posture with both hands returning toward a neutral ready position.
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4.3s |
The Lesson Process: The Serve: Part 1 (12 of 15)
Kerry Mitchell’s serve motion animation from a central teaching position, filmed from a side angle. The follow-through clearly rotates his hips and shoulders toward the court with the non-hitting hand tucking in, setting up a balanced, ready stance after contact.
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8s |
The Lesson Process: The Backhand (12 of 12)
Kerry Mitchell’s backhand from a neutral stance, filmed from a side teaching angle. The side view makes it easy to see the eastern backhand grip and how the wrist stays laid back with a firm but relaxed grip pressure through contact before releasing slightly into the follow-through.
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2.7s |
The Drop Shot (12 of 13)
Kerry Mitchell's forehand drop shot from the center of the court, filmed from a side angle. His hips stay relatively closed while the knees flex deeply, with a subtle upward leg drive that stops early to soften the shot.
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6.1s |
The Forehand Return (12 of 14)
Kerry Mitchell's wide serve from the deuce court, filmed from a front animation angle. At contact, the racket face is slightly angled toward the sideline with the ball struck just above full extension, and the racket head accelerates upward and outward along the wide target line.
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5.1s |
Personality and Playing Style (13 of 18)
Marcos Baghdatis’s forehand from the center of the baseline, filmed from a rear angle. His semi-western grip is clear as his wrist stays laid back through the forward swing, then releases into a subtle pronation just after contact.
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6.9s |
The Lesson Process: The Serve: Part 1 (13 of 15)
Kerry Mitchell’s serve teaching animation on Federer’s alignment from a central baseline perspective, filmed from a side angle. The animation emphasizes Federer’s consistent shoulder and hip alignment to the net during the stance and loading phase, with a clear shift from a square setup into a more closed stance as he coils.
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5.6s |
The Lesson Process: The Serve: Part 2 (13 of 17)
Federer's serve racket turn from the baseline, filmed from a side animation angle. His feet stay grounded in a stable platform stance as the shoulders coil, with no early pivot or step, emphasizing an isolated upper-body turn during the racket drop phase.
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3.3s |
Kerry Mitchell: The Overhead (12 of 12)
Kerry Mitchell's overhead from the center of the court, filmed from a side angle. His hips stay sideways as he loads with a deep knee bend, then drive up together with the legs extending to support the pronation motion.
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9.5s |
The Forehand Return (13 of 14)
Kerry Mitchell’s serve toss animation from the center of the baseline, filmed from a side CourtLevel angle. The hips stay relatively quiet while the front knee flexes and the back leg maintains a stable line, giving a clear view of how the lower body supports an upward, consistent toss.
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9.7s |
The Forehand Return (14 of 14)
Kerry Mitchell's forehand return from a neutral return position, filmed from a side court-level angle. His semi-western grip is clear, with noticeable wrist lag on the takeback that straightens into a firm, stable wrist at contact.
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4.8s |
The Lesson Process: The Serve: Part 1 (14 of 15)
Kerry Mitchell’s serve stance explanation from a central teaching position, filmed from a CourtLevel angle. After the motion, she finishes with her weight transferred onto the front foot and both hands returning together in front of the body to model the ready position for recovery.
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3.6s |
Personality and Playing Style (15 of 18)
Kerry Mitchell's lesson on Guillermo Cañas’ personality and playing style, filmed from an instructional front angle. After each stroke example, Cañas’ recovery steps and follow-through are analyzed, including how he brings the non-hitting hand back to center and re-establishes a neutral ready position on the baseline.
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8.3s |
The Lesson Process: The Serve: Part 2 (15 of 17)
Federer's serve from a centered baseline position, filmed from an animation-style side angle. His legs load with a clear knee bend before driving upward, while his hips rotate from a coiled position into an open stance as the racquet pronates through contact.
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2.8s |
The Lesson Process: The Serve: Part 1 (15 of 15)
Kerry Mitchell's serve wind-up sequence from a central baseline position, filmed from a side animation angle. The animation emphasizes the rhythmic weight transfer onto the back foot and the gradual coiling into a sideways stance before the racquet drops into the backscratch position.
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3.3s |
The Lesson Process: The Serve: Part 2 (16 of 17)
Kerry Mitchell’s teaching system animation compares baseball and football throwing motions to tennis serve mechanics, filmed from a diagrammatic side and overhead instructional angle. The animation emphasizes lower-body loading and weight transfer into a stable base stance before rotation, illustrating how proper footwork sequencing supports an efficient serve motion.
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10.6s |
The Lesson Process: The Serve: Part 2 (17 of 17)
Kerry Mitchell’s serve from a central baseline teaching position, filmed from a side CourtLevel angle. The contact point is well in front of the body with the racket face slightly closed, and the racket head accelerates upward along a steep swing path to emphasize hitting up on the ball.
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2.2s |
The Serve Toss (1 of 103)
Kerry Mitchell's serve toss animation from the center of the baseline, filmed from a side angle. The racket remains still while the contact point is illustrated by the ball’s rising path and release height relative to the hitting shoulder.
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6.4s |
True Alignment: The One Handed Backhand (1 of 82)
Kerry Mitchell’s one-handed backhand animation from a central baseline position, filmed from a side, instructional graphic angle. The sequence clearly depicts a relaxed eastern backhand grip with a pronounced laid-back wrist that gradually firms up into a strong, stable position at contact.
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4.5s |
The Lesson Process: Forehand (1 of 13)
Kerry Mitchell’s forehand from a central teaching position, filmed from a side animation angle. The animation emphasizes a semi‑western grip with clear wrist lag into the slot and a pronounced wrist release through contact.
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4s |
The Lesson Process: The Serve: Part 2 (1 of 17)
Kerry Mitchell's serve from a teaching position, filmed from a front instructional angle. His continental grip is evident with the hand shifted slightly toward bevel two, and you can see a deliberate wrist pronation through contact as the strings rotate from edge-on to square with the ball.
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3.6s |
The Lesson Process: The Serve: Part 1 (1 of 15)
Kerry Mitchell’s serve from a central baseline position, filmed from a side CourtLevel angle. His footwork sequence includes a rhythmic weight transfer from back to front foot and a controlled pivot on the back leg as he moves into a platform stance before driving up to the ball.
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4.5s |
The Forehand Return (1 of 14)
Kerry Mitchell's forehand return from a neutral return position, filmed from a court-level front angle. After contact she lets the racquet finish high across her body while her weight shifts forward and she quickly brings both hands back toward a ready position for the next shot.
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6.9s |
True Alignment: Two Handed Backhand (1 of 8)
Novak Djokovic's two-handed backhand from a neutral baseline position, filmed from a side animation angle. The animation clearly depicts an early, full shoulder turn with the trunk coiling against the hips, then uncoiling in sequence so the shoulders lead the racquet through contact.
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7.8s |
Kerry Mitchell: The Overhead (1 of 12)
Kerry Mitchell's overhead from the center of the court, filmed from a court-level angle. The racket face is slightly closed at a contact point above head height, with the racket head accelerating steeply upward through the ball.
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5.3s |
The Return of Serve and Volley: Can It Happen? (1 of 8)
Greg Rusedski's serve motion animation from a central baseline position, filmed from a side/court-level angle. At contact, his racket face is slightly closed with the contact point well above his head, and the racket head accelerates steeply upward along the edge-on path before pronating through the ball.
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6.6s |
December 2005 Issue
Kerry Mitchell’s forehand from the center of the court, filmed from a side CourtLevel angle. Her stance shifts from a neutral setup into a more open position as she loads on the outside leg, with a clear adjustment step forward into contact.
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6.7s |
December 2005 Issue
Federer's FH from the Deuce side, filmed from CourtLevel. His shoulders load with a pronounced closed turn relative to the baseline, then the trunk uncoils ahead of the arm swing in a clear kinetic chain sequence.
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6.7s |
The Serve Toss (2 of 103)
Kerry Mitchell’s serve toss lesson animation from center court, filmed from a front instructional angle. The animation clearly breaks down the tossing motion with feet set in a stable stance and a minimal weight shift to emphasize consistent balance before initiating the serve.
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9.4s |
True Alignment: The One Handed Backhand (2 of 82)
Kerry Mitchell's one-handed backhand lesson animation from a central court position, filmed from a side angle. The follow-through finishes high with the hitting arm extended while the non-hitting hand counterbalances behind the body, leading into a neutral, square recovery stance.
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10.8s |
The Lesson Process: Forehand (2 of 13)
Kerry Mitchell's forehand footwork cross-step pattern from the center of the baseline, filmed from a side CourtLevel angle. After contact he crosses the outside leg behind with his weight transferring forward, then returns to a neutral ready position with both hands back on the racquet.
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3.4s |
The Forehand Return (2 of 14)
Kerry Mitchell's forehand return from the return position, filmed from a court-level side angle. The hips load with a clear coil as the knees flex on the split step, then the legs drive forward to uncoil the hips into contact.
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7.3s |
Kerry Mitchell: True Alignment (2 of 10)
Kerry Mitchell's forehand from a neutral baseline position, filmed from a side CourtLevel angle. You can clearly see the extreme semi-western to western grip with pronounced wrist lag in the takeback that unwinds into a strong wrist snap at contact.
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4.2s |
The Drop Shot (2 of 13)
Federer's forehand from the middle of the court, 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 uncoil the hips into contact.
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5.4s |
The Lesson Process: The Serve: Part 1 (2 of 15)
Federer's serve from a central baseline position, filmed from a side animation angle. The contact point is well above head height with the racket face slightly closed, and the racket head accelerates upward and forward along a steep swing path to impart heavy topspin.
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6.4s |
The Lesson Process: The Serve: Part 2 (2 of 17)
Federer's serve toss from the baseline, filmed from a side animation angle. The animation clearly depicts the coordinated shoulder tilt and trunk alignment as the tossing arm rises, emphasizing how the upper body sets its coil before the racquet arm begins its upward motion.
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7.4s |
Personality and Playing Style (2 of 18)
Gasquet's groundstroke animation from a neutral court position, filmed from a side angle. His exaggerated one-handed backhand follow-through wraps high over his shoulder while his non-hitting arm opens back for counterbalance before he recovers to a ready stance.
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3.6s |
The Return of Serve and Volley: Can It Happen? (2 of 8)
Nadal's return of serve from a central baseline position, filmed from a court-level angle. His compact split-step into a semi-open stance is followed by quick adjustment steps that keep his weight forward as he moves into the return.
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4.9s |
True Alignment: Two Handed Backhand (2 of 8)
Kerry Mitchell's two-handed backhand stance variations at neutral position, filmed from a side animation view. The hips and legs clearly shift between more closed and more open alignments, with distinct differences in knee flex and weight distribution over the rear leg during the loading phase.
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11.9s |
The Lesson Process: The Backhand (2 of 12)
Kerry Mitchell’s backhand teaching animation from a central court position, filmed from a side angle. The animation emphasizes the unit turn with early shoulder rotation and a stable neutral stance before the racquet starts forward.
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3.3s |
The Serve Toss (3 of 103)
Kerry Mitchell's serve toss animation from center court, filmed from a side angle. The shoulder and trunk rotation are clearly segmented, with the trunk remaining relatively quiet while the tossing-side shoulder elevates and externally rotates to set a consistent coil before the serve motion begins.
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5.9s |
The Lesson Process: Forehand (3 of 13)
Borg's forehand animation from a neutral baseline position, filmed from a side angle. The side view makes his extreme topspin forehand grip and pronounced wrist lag before forward acceleration clearly visible.
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5.7s |
The Lesson Process: The Backhand (3 of 12)
Kerry Mitchell’s footwork animation for chasing a backhand from a neutral court position, filmed from a court-level side angle. The follow-through is abbreviated so the player can immediately recover with a small hop into a balanced, two-handed ready position facing the net.
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3.6s |
The Lesson Process: The Serve: Part 2 (3 of 17)
Federer's serve motion from a central baseline position, filmed from an animated side angle. His stance shifts from a platform base into a pronounced knee bend and upward leg drive, with a clear weight transfer from back foot to front foot during the lift phase.
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6.4s |
The Drop Shot (3 of 13)
Gasquet's forehand from the center of the court, filmed from a side animation angle. The racket face is slightly open at contact with the ball struck around waist height, and the swing path brushes steeply up the back of the ball to emphasize topspin.
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4.6s |
Personality and Playing Style (3 of 18)
Kerry Mitchell’s movement animation is shown from a dynamic composite angle. You can clearly see how her hips initiate directional changes while her legs use short, reactive steps to load and push into each movement.
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6.9s |
True Alignment: Two Handed Backhand (3 of 8)
Kerry Mitchell’s two-handed backhand mechanics animation from center court, filmed from a side angle. The side view makes the strong wrist lag on the dominant hand and stable, firm top hand grip easy to see as the racquet moves into contact.
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9.1s |
The Lesson Process: The Serve: Part 1 (3 of 15)
Kerry Mitchell’s serve fundamentals from the center of the baseline, filmed from a side animation angle. The animation clearly depicts his weight transferring forward into the court with a full upward follow-through, finishing in a balanced, ready position for the next shot.
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3.6s |
The Return of Serve and Volley: Can It Happen? (3 of 8)
Kerry Mitchell’s animated lesson on the return of serve and volley is presented from a side instructional angle. The animation emphasizes how a continental grip is held with relatively firm pressure while the wrist stays stable through the return and then subtly firms up again as the player moves forward to volley.
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3.3s |
Kerry Mitchell: True Alignment (3 of 10)
Kerry Mitchell’s serve from a neutral stance in the center of the court, filmed from a court-level side angle. The side view makes the depth of his shoulder turn and the timing of his trunk uncoil into contact easy to see, with the shoulders rotating ahead of the hips to sequence the kinetic chain.
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2.9s |
The Forehand Return (3 of 14)
Kerry Mitchell's forehand return from a neutral return position, filmed from a side animation angle. The animation clearly depicts strong knee flexion during the loading phase and an aggressive leg drive upward and forward that initiates hip rotation into the shot.
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3.8s |
Kerry Mitchell: The Overhead (3 of 12)
Kerry Mitchell's overhead from the center of the court, filmed from a side angle. He pivots his hips and shoulders together into a strong unit turn while planting his back foot, then steps forward with the front foot into a stable stance before swinging up to the ball.
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9.9s |
The Serve Toss (4 of 103)
Kerry Mitchell’s serve toss lesson animation from a central teaching position, filmed from a side instructional angle. The animation clearly illustrates a relaxed continental grip with minimal wrist hinge, keeping the tossing wrist firm and neutral through the upward motion.
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12.9s |
True Alignment: The One Handed Backhand (3 of 82)
Kerry Mitchell’s one-handed backhand from a neutral baseline position, filmed from a side animation view. The hips clearly coil with the rear hip sitting back and the knees flexed, then uncoil as the back leg drives forward to extend the hitting side through contact.
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5s |
The Lesson Process: Forehand (4 of 13)
Kerry Mitchell's forehand from a neutral central position in an open stance, filmed from a side angle. The side view makes the degree of shoulder turn and the timing of the trunk uncoil relative to the arm swing easy to distinguish within the overall kinetic chain.
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6.8s |
True Alignment: Two Handed Backhand (4 of 8)
Kerry Mitchell’s two-handed backhand lesson on back leg action from a central baseline position, filmed from a side angle. The video emphasizes the back-leg load with a deep knee bend and delayed heel lift that drives the hips forward into rotation before contact.
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3.9s |
The Forehand Return (4 of 14)
Kerry Mitchell's forehand return from the center of the baseline, filmed from a side angle. After contact, his follow-through finishes high across his body while his weight transfers forward into the court and his non-hitting hand starts to extend back toward a ready position.
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7s |
The Lesson Process: The Serve: Part 1 (4 of 15)
Kerry Mitchell's serve progression animation from a central baseline position, filmed from a side angle. The sequence emphasizes the change from a continental to an eastern grip and the corresponding increase in wrist pronation through contact.
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4.5s |
The Lesson Process: The Backhand (4 of 12)
Kerry Mitchell's backhand lesson animation from center court, filmed from a side angle. The sequence emphasizes finishing high with the racquet while the non-hitting hand helps the shoulders unwind back into a neutral ready position.
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4.2s |
Personality and Playing Style (4 of 18)
Novak Djokovic's groundstroke mechanics are illustrated in an animation sequence from a side court-level angle. His semi-western grip and laid-back wrist position are clearly visible as the racquet lags behind his hand before uncoiling through contact.
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8.5s |
The Drop Shot (4 of 13)
Kerry Mitchell’s forehand drop shot from a central baseline position, filmed from a side CourtLevel angle. The side view makes the subtle early shoulder turn and limited trunk coil clear, with a gentle uncoiling that keeps the shoulders relatively closed through contact to soften racket path and speed.
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7.5s |
The Lesson Process: The Serve: Part 2 (4 of 17)
Kerry Mitchell's serve power position from the center of the baseline, filmed from a side angle. Her deep knee bend and pronounced hip hinge into the ground are clearly visible as she loads her legs before driving up into the serve.
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4.2s |
The Return of Serve and Volley: Can It Happen? (4 of 8)
Murray's return of serve from a neutral position, filmed from a side angle. His follow-through finishes across his body while his weight transfers into the court, quickly bringing both hands back to the ready position for the next shot.
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6s |
Kerry Mitchell: True Alignment (4 of 10)
Kerry Mitchell’s neutral-stance kick backhand from the center of the court, filmed from a court-level angle. After contact, his racquet finishes high with the non-hitting hand counterbalancing in front as he transfers weight forward and quickly returns to a ready position.
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3.2s |
Kerry Mitchell: The Overhead (4 of 12)
Kerry Mitchell's overhead from the center of the court, filmed from a side angle. After contact she drives her hitting arm fully through the ball while her non-hitting hand drops and her weight moves forward into a balanced ready position.
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4.3s |
The Serve Toss (5 of 103)
Kerry Mitchell's serve toss animation from a central baseline position, filmed from a side CourtLevel angle. The racket starts in a relaxed ready position while the toss arm extends upward, making it easy to see the ball rise to just above full arm extension before the racket moves into the backscratch position.
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5.4s |
True Alignment: The One Handed Backhand (4 of 82)
Kerry Mitchell's one-handed backhand lesson on true alignment, filmed from a side animation angle. The follow-through emphasizes the hitting arm extending out toward the target while the torso completes its rotation before the player recovers back toward a neutral ready position.
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6.2s |
True Alignment: The One Handed Backhand
Paul Hamori's stroke biomechanics animation from a central court position, filmed from a side angle. The contact point is depicted slightly in front of the lead hip with a square racket face and a clearly upward swing path through the hitting zone.
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4.9s |
The Lesson Process: Forehand (5 of 13)
Kerry Mitchell's forehand teaching animation from a central court position, filmed from a side/court-level angle. At contact the racket face stays square through the ball while the "hug yourself" follow-through path wraps the hitting arm across the chest, emphasizing a compact swing with controlled racket head speed.
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3.5s |
The Lesson Process: The Backhand (5 of 12)
Kerry Mitchell’s one-handed backhand preparation from the center of the court, filmed from a side angle. The hips clearly coil as the shoulders turn while the knees flex into a loaded position, setting up leg drive into the forward swing.
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3.4s |
The Return of Serve and Volley: Can It Happen? (6 of 8)
Novak Djokovic's return of serve from a neutral position, filmed from a side animation angle. His hips load with a noticeable coil while the knees stay flexed, and then the legs drive upward and forward together as the hips uncoil into the shot.
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4.6s |
The Lesson Process: The Serve: Part 1 (5 of 15)
Federer's serve arm rotation from the baseline, filmed from an animated side view. The animation clearly depicts the racket face staying edge-on to the ball through the arm’s external rotation before pronation squares the strings at contact.
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3.9s |
Kerry Mitchell: True Alignment (5 of 10)
Kerry Mitchell's forehand from a semi-open stance, filmed from a court-level angle. The shoulders turn significantly past perpendicular to the net during the unit turn, then the trunk uncoils ahead of the arm to initiate the forward swing.
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5.2s |
The Forehand Return (5 of 14)
Kerry Mitchell’s forehand return from a neutral position, filmed from a side court-level angle. The side view makes the early unit turn and degree of shoulder rotation relative to the hips easy to see as the trunk coils on the split step and then uncoils into contact.
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10.5s |
The Lesson Process: The Serve: Part 2 (5 of 17)
Kerry Mitchell’s serve analysis focusing on the left arm action, filmed from a side animation view. The racket remains in a neutral position while the left arm extends fully upward, helping set a consistent contact point slightly above head height before the racket accelerates to the ball.
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3.5s |
True Alignment: Two Handed Backhand (5 of 8)
Kerry Mitchell’s two-handed backhand setup from a neutral position, filmed from a side animation angle. The animation clearly depicts an early shoulder turn with the hitting-side shoulder rotating under the chin as the trunk coils, then uncoils in sequence from the hips through the torso into the arms.
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9.4s |
Kerry Mitchell: The Overhead (5 of 12)
Kerry Mitchell's overhead from the center of the court, filmed from a side angle. The side view makes it easy to see the shoulders tilt steeply as the trunk coils on the trophy position and then uncoils upward in sequence from the legs through the hips to the upper torso.
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6.1s |
The Serve Toss (6 of 103)
Kerry Mitchell's serve toss lesson from a center-court position, filmed from a side animation angle. The animation clearly depicts a relaxed continental grip with minimal wrist deviation, emphasizing a stable wrist position as the ball is released from the fingertips during the toss.
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4.5s |
True Alignment: The One Handed Backhand (5 of 82)
Kerry Mitchell's one-handed backhand lesson animation from a central court view, filmed from a side angle. The sequence emphasizes a relaxed eastern backhand grip with a pronounced laid-back wrist that gradually un-cocks into contact.
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3.6s |
The Lesson Process: Forehand (6 of 13)
Kerry Mitchell's forehand backswing demonstration from center court, filmed from a side angle. His stance shifts from a neutral setup into a semi-open position as he turns his shoulders, with a small adjustment step aligning his feet before initiating the forward swing.
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3.1s |
The Drop Shot (6 of 13)
Andre Agassi's forehand from the center of the court, filmed from a side animation angle. His semi-western grip is clear as his wrist stays laid back through the forward swing before snapping into neutral at contact.
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5.2s |
True Alignment: Two Handed Backhand (6 of 8)
Kerry Mitchell animates Andy Roddick’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 square to the ball and the racket head accelerating on an upward path through contact.
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10.5s |
The Forehand Return (6 of 14)
Federer's forehand return from a neutral position, filmed from a side court-level angle. His early shoulder turn creates a strong trunk coil, and you can see the torso uncoil ahead of the arm to initiate an efficient kinetic chain into contact.
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10.4s |
The Lesson Process: The Serve: Part 1 (6 of 15)
Nadal’s serve motion reference, focusing on trophy position and swing path, presented in an animation format. From this angle you can clearly see a loose continental grip with the wrist laid back in a pronounced lag position before pronation drives the racket head up and through contact.
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5s |
Kerry Mitchell: True Alignment (6 of 10)
Kerry Mitchell's forehand from a neutral court position in an open stance, filmed from a side angle. His hips stay open to the net as he drives off the outside leg, with clear knee flexion before extending upward into contact while still in the air.
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6.2s |
The Lesson Process: The Backhand (6 of 12)
Kerry Mitchell’s backhand preparation sequence from center court, filmed from a side angle. At contact the racket face stays slightly closed with the ball met just in front of the lead hip, and the swing path moves low to high with increasing racket head speed through the strike zone.
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4.1s |
The Return of Serve and Volley: Can It Happen? (5 of 8)
Greg Rusedski's serve motion animation from a central baseline view, filmed from a rear angle. His shoulder line turns well past 90 degrees relative to the baseline, with a pronounced trunk coil that uncoils sequentially from hips to shoulders into the contact phase.
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3.9s |
The Serve Toss (7 of 103)
Kerry Mitchell's serve toss lesson from a central baseline position, filmed from a court-level front angle. Her stance remains in a stable platform position as she rhythmically bends her knees and times a small front-foot adjustment with the upward motion of the tossing arm.
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6.9s |
True Alignment: The One Handed Backhand (6 of 82)
Kerry Mitchell's one-handed backhand lesson animation from a central baseline position, filmed from a side angle. The racket stays on a consistent swing plane with a slightly closed face at contact, meeting the ball around waist height in front of the lead hip.
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4.5s |
The Lesson Process: The Serve: Part 2 (7 of 17)
Kerry Mitchell's kick serve from the baseline, filmed from a rear angle. The contact point is high above the head with the racket face slightly angled to the left, and the upward brushing swing path creates heavy topspin.
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3.5s |
Kerry Mitchell: The Overhead (6 of 12)
Kerry Mitchell’s overhead from the center of the court, filmed from a side angle. The racket face is slightly open at contact with the ball struck well above head height, and the racket head accelerates steeply down through the hitting zone.
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9.2s |
True Alignment: Two Handed Backhand (7 of 8)
Kerry Mitchell's two-handed backhand from a neutral court position, filmed from a side angle. His stance moves from a neutral setup into a distinctly closed position as he steps across with the front foot, with a clear weight transfer from back to front leg through contact.
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13.2s |
The Forehand Return (7 of 14)
Kerry Mitchell's forehand return run-around from the deuce side, filmed from a rear court-level angle. He uses a quick split step into a lateral crossover to run around the backhand and sets up in an open stance before driving back toward the center with small recovery steps.
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8.1s |
The Lesson Process: The Serve: Part 1 (7 of 15)
Sampras's serve from a central baseline position, filmed from an animated side view. The animation clearly depicts the deep shoulder over-shoulder action and pronounced trunk coil that unwinds sequentially from the hips through the torso into the hitting arm.
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6.1s |
Kerry Mitchell: True Alignment (7 of 10)
Kerry Mitchell’s animation of the scissor kick movement in the serve, filmed from a side angle. The racket can be seen accelerating upward with the strings staying relatively square to the ball at contact, meeting it slightly above head height as the legs scissor to support the upward swing path.
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3.6s |
The Lesson Process: The Backhand (7 of 12)
Kerry Mitchell's backhand swing animation from a neutral central position, filmed from a side angle. The hips visibly coil as the knees flex on the loading phase, then uncoil with a clear upward leg drive into contact.
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5.6s |
The Drop Shot (7 of 13)
Kerry Mitchell's unit movement animation for the drop shot, filmed from a side angle. The hips stay relatively closed while the knees flex deeply, with a subtle forward leg drive that supports the soft, decelerated swing path.
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6s |
The Serve Toss (8 of 103)
Kerry Mitchell's serve toss lesson from the center of the baseline, filmed from a CourtLevel front angle. Her follow-through into the trophy position is clear, with the tossing arm staying extended upward longer before folding down as she transfers weight forward into a balanced ready stance.
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7.9s |
True Alignment: The One Handed Backhand (7 of 82)
Kerry Mitchell's one-handed backhand from a neutral baseline position, filmed from a side court-level angle. The side view makes the depth of his shoulder turn and the timing of his trunk uncoil into contact very clear, with the torso rotating forward only after the hitting shoulder has fully loaded.
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9.9s |
True Alignment: The One Handed Backhand
Paul Hamori's stroke biomechanics animation from a neutral court position, filmed from a side angle. His wrist motion is clearly illustrated with a pronounced lag into the forward swing followed by a distinct pronation through contact.
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7.9s |
The Lesson Process: Forehand (8 of 13)
Kerry Mitchell’s forehand from a neutral stance at the baseline, filmed from a court-level side angle. The video clearly shows the hips staying closed longer during the unit turn while the knees load, then uncoil together with a noticeable upward leg drive into contact.
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5s |
Kerry Mitchell: The Overhead (7 of 12)
Kerry Mitchell's overhead from the center of the court, filmed from a side angle. The side view makes it clear how her continental grip stays firm while the wrist moves from a laid-back position into a controlled pronation through contact.
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10.1s |
Personality and Playing Style (8 of 18)
Kerry Mitchell’s forehand and backhand animations from the center of the court, filmed from a side CourtLevel angle. His footwork pattern features a clear split step into small adjustment steps that set up a neutral stance before each stroke.
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4.4s |
The Lesson Process: The Serve: Part 1 (8 of 15)
Federer's serve pronation from a central baseline position, filmed from a rear court-level angle. The shoulder and trunk action is clear as his torso remains coiled while the hitting shoulder externally rotates, then rapidly internally rotates with the trunk uncoiling through contact.
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6.5s |
The Forehand Return (8 of 14)
Kerry Mitchell's forehand return from a central return position, filmed from a court-level front angle. His compact split step into a neutral stance is followed by a short pivot and controlled recovery step that keeps him balanced on the baseline.
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9.1s |
The Drop Shot (8 of 13)
Kerry Mitchell's forehand drop shot from a neutral position, filmed from a side court-level angle. His semi-western grip is paired with a soft, relaxed wrist that stays laid back through the takeback and then subtly releases forward at contact to take pace off the ball.
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6.8s |
True Alignment: Two Handed Backhand (8 of 8)
Kerry Mitchell's two-handed backhand animation from center court, filmed from a side angle. The scissor-kick action drives his weight forward into the court, and he quickly lands in a balanced stance with both hands returning to a ready position in front of his body.
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12.6s |
The Serve Toss (9 of 103)
Kerry Mitchell’s serve toss lesson from center court, filmed from a court-level front angle. After release, his tossing arm stays extended upward as his weight shifts onto his front foot, helping him maintain posture and prepare for the hitting motion.
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4s |
The Lesson Process: Forehand (9 of 13)
Kerry Mitchell’s forehand preparation sequence from a central court position, filmed from a side angle. The video emphasizes an early unit turn into a neutral stance with small adjustment steps that set the outside leg before the swing.
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4.4s |
The Forehand Return (9 of 14)
Kerry Mitchell's forehand return from a neutral return position, filmed from a side court-level angle. The side view makes it easy to see the early unit turn of the shoulders and how the trunk uncoils ahead of the arm to start the forward swing.
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7.7s |
The Drop Shot (9 of 13)
Kerry Mitchell’s forehand drop shot from the center of the court, filmed from a side CourtLevel angle. The shoulder turn is relatively minimal while the trunk coil is subtle, emphasizing a late uncoil and soft deceleration through contact to disguise the drop shot.
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5.7s |
The Lesson Process: The Backhand (9 of 12)
Kerry Mitchell’s backhand from a neutral teaching position, filmed from a side court-level angle. The side view makes the depth of his shoulder turn and the timing of his trunk uncoil into the finish especially clear, with the shoulders rotating fully through so the chest faces the target at completion.
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9.2s |
Kerry Mitchell: True Alignment (9 of 10)
Kerry Mitchell’s forehand from the center of the court, filmed from a side angle. His hips and legs clearly show the front foot coming around to align with the target as the rear leg drives through and finishes with the hips fully rotated toward the net.
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15.3s |
Personality and Playing Style (9 of 18)
Kerry Mitchell's forehand animation of inside-out and inside-in patterns from the center of the baseline, filmed from a side angle. The footwork sequence clearly shows a timed split-step into a semi-open stance with small adjustment steps before contact and a crossover recovery back toward the middle.
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6.6s |
The Lesson Process: The Serve: Part 1 (9 of 15)
Kerry Mitchell’s serve balance drill from the center of the baseline, filmed from a side angle. The video makes it easy to see how his hips stay stacked over the back leg with a deep knee bend before driving up into the serve.
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6.4s |
The Lesson Process: The Serve: Part 2 (9 of 17)
Roddick's serve from a central baseline position, filmed from a side CourtLevel angle. After contact he lands on his front foot with his tossing arm dropping quickly as he uncoils, then regathers both hands in front of his body to return to a balanced ready position.
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4.1s |
What is Open Stance? (1 of 12)
Kerry Mitchell's open-stance groundstrokes from the center of the baseline, filmed from a rear court-level angle. After contact, she lets the racquet wrap around her non-hitting shoulder while her weight settles on the outside leg before she pushes back into a neutral ready position.
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3.5s |
What is Open Stance? (2 of 12)
Kerry Mitchell's open-stance forehand from the baseline, filmed from a side angle. His semi-western grip is evident in the closed racket face at the wrist, which stays laid back through the forward swing before releasing slightly after contact.
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4.6s |
Personality and Playing Style (14 of 18)
Nadal's forehand approach shot transitioning into an overhead from mid-court, filmed from a side angle. His shoulders rotate well past perpendicular to the net on the forehand, then the trunk uncoils upward into the overhead with a clear upward kinetic chain from hips to shoulders.
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5.8s |
Personality and Playing Style (11 of 18)
Nadal's backhand from the center of the court, filmed from a rear court-level angle. His compact split step into a semi-open stance and quick adjustment steps around the ball are clearly visible as he prepares to drive the short backhand.
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4s |
The Lesson Process: The Backhand (1 of 12)
Kerry Mitchell's two-handed backhand from the center of the baseline, filmed from a side court-level angle. The racket face is slightly closed at a contact point just in front of the lead hip, with the swing path moving low to high to accelerate the racket head through the ball.
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4.2s |
Personality and Playing Style (5 of 18)
Federer's backhand from a neutral central position, filmed from an animation-style court-level angle. His follow-through finishes high with the racquet wrapping across his body as his weight transfers onto the front foot, and he quickly brings both hands back toward a ready position.
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2.9s |
The Drop Shot (13 of 13)
Kerry Mitchell's drop shot from the center of the court, filmed from a court-level angle. She uses a compact adjustment step pattern into a slightly closed stance, with a subtle last-moment deceleration of her forward steps before contact to soften the touch on the ball.
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7.9s |
The Drop Shot (1 of 13)
Kerry Mitchell's drop shot from the center of the court, filmed from a court-level angle. After contact, she lets the racquet head decelerate softly in front while her weight settles slightly onto the front foot and the non-hitting hand begins to return toward a neutral ready position.
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7.5s |
The Drop Shot (5 of 13)
Kerry Mitchell's drop shot from the center of the court, filmed from a front camera angle. His small adjustment steps into a slightly closed stance are visible as he softens his weight on the front foot just before contact to control the touch on the ball.
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3.3s |
The Lesson Process: The Serve: Part 2 (14 of 17)
Federer's first serve from a central baseline position, filmed from a side animation angle. The side view makes the strong wrist pronation and relaxed continental grip pressure at and just after contact especially clear.
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5.8s |
Personality and Playing Style (6 of 18)
Fernando Verdasco's forehand from a central court position, filmed from an animation-based instructional angle. The hips are shown driving aggressively into the shot with a pronounced knee bend and strong leg push-off that rotates the lower body through contact.
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2.7s |
Kerry Mitchell: True Alignment (8 of 10)
Kerry Mitchell's running forehand from a neutral court 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 the swing path.
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9.3s |
Kerry Mitchell: The Overhead (2 of 12)
Andre Agassi's overhead from the center of the court, filmed from a rear angle. His quick pivot and crossover steps position him under the ball before he plants in a semi-open stance to strike the overhead.
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4.7s |
Kerry Mitchell: The Overhead (8 of 12)
Kerry Mitchell's overhead from the center of the court, filmed from a rear camera angle. The rear view makes it easy to see her shoulders stay turned sideways as the trunk coils during the trophy phase, then uncoils in sequence from the hips through the torso into the hitting arm.
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10.3s |
Personality and Playing Style (1 of 18)
Andy Roddick's slice backhand from a neutral position, filmed from a side animation angle. The racket face stays noticeably open at contact with the ball struck around waist height, and the swing path moves steeply down and through with controlled racket head speed.
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4.2s |
Personality and Playing Style (7 of 18)
Verdasco's BH slice from the middle of the court, filmed from a side animation angle. The racket face is noticeably open at contact with the ball struck around waist height, and the swing path moves on a clear high-to-low trajectory to impart underspin.
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3.6s |
The Lesson Process: The Backhand (8 of 12)
Kerry Mitchell's backhand slice from the center of the baseline, filmed from a side CourtLevel angle. His footwork emphasizes a small adjustment step into a closed stance with the front foot stepping across as he sets the racquet face for the slice.
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4s |
