Larry Jurovich

Active Coach

Video Library (25 videos)

Name FPS Duration
The Four Components of Match Play (10 of 12) Nadal's running court coverage animation from a neutral position, filmed from a court-level angle. His recovery steps carry him back toward the center with his upper body slightly coiled and hands resetting in front of his torso, preparing for the next directional change.
4.4s
The Four Components of Match Play (11 of 12) Junior player’s forehand volley from the center of the court, filmed from a court-level front angle. The player uses a small split step followed by a short diagonal adjustment step into a neutral stance before the volley, then immediately takes a recovery step back toward the ready position.
3.6s
Components of Match Play: Tactics and Patterns (11 of 14) Larry Jurovich’s crosscourt rally pattern animation from a central baseline position, filmed from a tactical overhead angle. The footwork pattern emphasizes small adjustment steps into a neutral stance before contact and a quick recovery shuffle back toward the ideal rally position on the baseline.
8.3s
The Four Components of Match Play (12 of 12) Larry Jurovich’s early-contact ball animation is presented from a neutral tactical court view, filmed from a simple overhead diagram-style angle. The hips and legs are illustrated in relation to contact timing, emphasizing how early preparation and weight transfer through the legs position the hips optimally before the ball arrives.
4s
Components of Match Play: Tactics and Patterns (12 of 14) Larry Jurovich's tactical animation sequence on complex point construction, filmed from a tactical overhead diagram-style angle. The contact points are illustrated with clear racket-face orientations and contact heights that emphasize how small changes in racket angle and swing path shape different patterns of play.
9.8s
Components of Match Play: Tactics and Patterns (13 of 14) Larry Jurovich’s tactical strategy animation is presented from a diagrammatic overhead perspective. The wrist action is represented schematically, with simplified racket paths indicating pronation and grip orientation changes through different shot patterns.
22.3s
Components of Match Play: Tactics and Patterns (1 of 14) Novak's overall tactical and movement animation from a neutral court position, filmed from a mixed broadcast/illustrative angle. His recovery pattern is clear as he completes each stroke with a compact follow-through, quickly re-centers with small adjustment steps, and returns to a ready position with the non-hitting hand helping stabilize the torso.
10.2s
Components of Match Play: Tactics and Patterns (2 of 14) Larry Jurovich's strategy animation on tactics and patterns, filmed from a 2D overhead tactical diagram angle. The shoulder and trunk rotation are represented abstractly by player icons turning around their axis, emphasizing how early trunk coil sets up directional play and pattern sequencing.
7.7s
The Four Components of Match Play (4 of 12) Andre Agassi's baseline rally pattern animation, viewed from a tactical overhead angle. The hips and legs clearly show the shift between offense and defense as court position changes, with distinct adjustments in knee bend and lateral push-off depending on ball direction.
9.3s
Components of Match Play: Tactics and Patterns (4 of 14) Del Potro'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 around waist height, and the racket head accelerates steeply up the back of the ball along a low-to-high swing path.
9.4s
The Four Components of Match Play (5 of 12) Davydenko's groundstrokes in this strategy animation are presented from a mixed tactical and court-position perspective, using a diagram-style overhead view. The trunk rotation and shoulder alignment are clearly mapped as he transitions from unit turn to uncoil, illustrating how his upper body orientation changes with different tactical choices in the rally pattern.
3.1s
The Four Components of Match Play (6 of 12) Murray’s tactical baseline pattern is illustrated in a neutral rally scenario, filmed from a high animated court-level angle. The wrist stays relatively firm with minimal flexion-extension, emphasizing a stable grip that supports consistent directional changes during the pattern.
6.3s
Components of Match Play: Tactics and Patterns (6 of 14) Larry Jurovich's serve from the center baseline position, filmed from an animated instructional angle. The animation clearly depicts an exaggerated shoulder-over-shoulder action and pronounced trunk coil/uncoil sequence, making the timing of upper-body rotation in relation to leg drive and racquet drop easy to distinguish.
6.5s
Components of Match Play: Tactics and Patterns (7 of 14) Larry Jurovich's serve from the center of the baseline, filmed from an animation-style instructional angle. The hips load with a clear coil against a strong knee bend, and the legs drive upward together to uncoil the hips into contact.
6.2s
The Four Components of Match Play (9 of 12) Larry Jurovich’s strategy animation on the four components of match play, filmed from a full-court tactical diagram angle. The contact points and racket positions are represented schematically, with clear distinctions in racket path and impact zone for each tactical decision illustrated.
6.9s
Components of Match Play: Tactics and Patterns (9 of 14) Larry Jurovich's wide serve from a central baseline position, filmed from a wide tactical angle. His continental grip is evident in the racket angle at address, and the wrist pronation through contact is clearly visible as the strings turn outward toward the wide target.
15.3s
Components of Match Play: Tactics and Patterns (10 of 14) Larry Jurovich's approach shot from a neutral court position, filmed from a court-level angle. After contact he continues moving forward with his weight driving into the court, quickly bringing both hands back to the racket in front of his body to prepare for the next volley.
8.2s
The Four Components of Match Play (3 of 12) Federer's backhand from a central baseline position, filmed from an animated side angle. His follow-through finishes high with the racket above shoulder level while his weight transfers onto the front foot before he recovers to a neutral ready position.
3.3s
Components of Match Play: Tactics and Patterns (5 of 14) Larry Jurovich's backhand down the line from a neutral court position, filmed from an animation-style side 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 accelerating up the line.
4.4s
Components of Match Play: Tactics and Patterns (3 of 14) Player's forehand from a neutral position, filmed from a side angle. The hips load by turning away from the net while the knees flex deeply, then the rear leg drives the hips forward into contact on the wide ball.
3.3s
The Four Components of Match Play (8 of 12) Soderling's forehand from a central baseline position, filmed from a side 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 court position.
2.2s
Components of Match Play: Tactics and Patterns (8 of 14) Larry Jurovich's wide first serve from the deuce court, filmed from a front court-level angle. After contact his follow-through finishes across his body with his weight driving into the court, allowing him to land balanced and quickly recover toward the anticipated down-the-line reply.
5.5s
The Four Components of Match Play (7 of 12) Federer's overhead from a central net position, filmed from an animated side angle. His shoulders rotate as a single unit with the trunk, with a pronounced upward trunk extension and delayed shoulder uncoil that follows the leg drive and hip rotation.
5.6s
The Four Components of Match Play (1 of 12) Larry Jurovich's swinging volley on the service return position, filmed from an animation-style instructional angle. The racket meets the ball slightly in front of the body with a moderately closed face and a low-to-high swing path that accelerates through contact.
5.8s
The Four Components of Match Play (2 of 12) Sharapova's second serve from a central baseline position, filmed from a side angle. Her continental grip stays firm while the wrist pronates aggressively through contact, with a pronounced snap upward to add spin.
3.5s

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