Pat Cash

Active Coach

Video Library (45 videos)

Name FPS Duration
Developing World Class Volleys (10 of 11) Pat Cash's split-step movement at the baseline, filmed from a side animation angle. His feet land slightly wider than shoulder-width with knees deeply flexed, clearly illustrating the timing of the split-step just before the opponent’s contact.
17.2s
Bent versus Straight Hitting Arms Part 2 (1 of 13) Federer's forehand from a neutral position, filmed from a side animation angle. The animation clearly contrasts a deep shoulder turn and torso coil with a pronounced uncoiling sequence where the trunk leads the arm into contact.
9.8s
Pat Cash on the Volley - Part 2 (1 of 15) Federer's forehand from the center of the court, filmed from a side animation angle. His hips load with a clear coil against a deep knee bend, then uncoil as his legs drive upward and forward into the shot.
6.9s
Pat Cash on the Volley - Part 3 (1 of 4) Paul Fein’s volley animation from a central court position, filmed from a side animation angle. The sequence makes clear how a firm continental grip is paired with minimal wrist hinge, keeping the wrist stable through contact rather than snapping through the ball.
3.8s
Developing World Class Volleys (1 of 11) Pat Cash's forehand and backhand volleys from the net position, filmed from a side animation angle. His continental grip stays constant on both sides, with a firm but relaxed wrist that remains stable through contact rather than snapping or rolling.
4.4s
Bent versus Straight Hitting Arms (1 of 8) Pat Cash’s forehand technique explanation from a central court position, filmed from a court-level side angle. His footwork emphasizes setting a stable base with a neutral stance, clearly contrasting how the legs and weight transfer support both straight and bent hitting arm styles.
9.1s
Pat Cash on the Volley - Part 4 (1 of 6) Paul Fein’s animation of Pat Cash’s volley technique from a central court position, filmed from a side angle. After contact, Cash’s racket finishes slightly in front with his weight moving through the court and his non-hitting hand helping him stabilize into a compact ready position for the next ball.
9.5s
Pat Cash on the Volley - Part 3 (2 of 4) Paul Fein's drop volley from the forecourt, filmed from a court-level angle. The shoulders stay relatively square with only a minimal trunk turn, emphasizing a compact upper-body unit as the kinetic chain works mainly from a stable trunk into the arm and hand.
8.6s
Bent versus Straight Hitting Arms (2 of 8) Federer and Nadal's forehands from the baseline, filmed from a side animation angle. You can clearly see the difference in how their hips load and uncoil, with distinct variations in knee bend depth and leg drive timing through contact.
8.8s
Bent versus Straight Hitting Arms Part 2 (2 of 13) Pat Cash’s forehand from a central baseline position, filmed from a side angle. His stance alternates between semi-open and neutral as he plants the front foot just before contact, with small adjustment steps used to line up the ideal hitting distance.
10.1s
Developing World Class Volleys - the Backhand Volley (2 of 9) Pat Cash’s animation of Rod Laver’s backhand volley from the net area, filmed from a side angle. Laver’s hips stay relatively square to the net while his knees stay flexed, giving him a low, stable base as he drives slightly forward off the front leg through contact.
2.7s
Developing World Class Volleys (2 of 11) Pat Cash’s forehand and backhand volley technique from mid-court, filmed from a side animation view. His continental grip is clearly visible with a firm but relaxed wrist, staying stable through contact with only a slight controlled wrist layback on both sides.
5.4s
Pat Cash on the Volley - Part 2 (2 of 15) Paul Fein’s animation of the shoulder motion in the volley, filmed from a side instructional angle. The video emphasizes how the hitting-side shoulder leads slightly forward before contact, with the feet set in a stable, neutral stance to support controlled upper-body rotation.
5.4s
Pat Cash on the Volley - Part 4 (2 of 6) Pat Cash’s volley instruction from the center of the court, filmed from a court-level front 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 minimal snap forward after impact.
4.4s
Bent versus Straight Hitting Arms Part 2 (3 of 13) Pat Cash’s forehand from the center of the baseline, filmed from a side CourtLevel angle. His hips load by turning slightly closed while his knees flex deeply, then his rear leg drives forward to initiate hip uncoiling into contact.
6.2s
Developing World Class Volleys (3 of 11) Pat Cash's forehand volley from the net area, filmed from a side angle. His knees stay flexed with a slight forward hip hinge, giving a stable low base as he steps through the volley with the front leg driving toward the ball.
4.7s
Developing World Class Volleys - the Backhand Volley (3 of 9) Pat Cash’s backhand volley from the net area, filmed from a side animation angle. His continental grip is clearly visible with a firm wrist and minimal wrist hinge through contact, emphasizing a stable racket face.
3.7s
Pat Cash on the Volley - Part 2 (3 of 15) Paul Fein’s 3D animation of racket tilt on the volley from a neutral court position, filmed from a side angle. The animation clearly depicts how the shoulders stay relatively square while the trunk makes a subtle forward hinge, coordinating with the racket’s slight closing angle through contact.
4.4s
Bent versus Straight Hitting Arms (3 of 8) Roger Federer’s forehand from the middle of the court, filmed from a side angle. After contact his arm extends fully through the ball while his weight transfers onto his front foot and he quickly returns the racquet to a compact ready position.
3.9s
Pat Cash on the Volley - Part 3 (3 of 4) Paul Fein's split-step animation from a central court position, filmed from a side angle. The animation clearly times the split-step to the opponent’s contact, with both feet landing simultaneously before pushing off into the first adjustment step.
8.2s
Pat Cash on the Volley - Part 4 (3 of 6) Paul Fein’s volley drill with Pat Cash at the net, filmed from a side court-level angle. Cash uses a compact split-step into a short forward adjustment step, setting a neutral stance before each volley and then taking a quick recovery step back to reset his position.
3.5s
Pat Cash on the Volley - Part 3 (4 of 4) Paul Fein’s animation of the cross-step movement toward the net, filmed from a side angle. The hips clearly rotate forward as the player crosses the outside leg over, with a pronounced knee bend and forward-driving push off the back leg.
9.7s
Pat Cash on the Volley - Part 2 (4 of 15) Paul Fein’s volley animation at knee height from a central court position, filmed from a side angle. The side view makes it clear how the continental grip stays stable while the wrist remains firm with minimal wrist snap through contact at this low contact point.
6.3s
Bent versus Straight Hitting Arms Part 2 (4 of 13) Pat Cash’s forehand from a neutral baseline position, filmed from a side court-level angle. The contact point is well in front of his body with a slightly closed racket face, and the racket head accelerates upward on a steep low-to-high path through the ball.
18s
Bent versus Straight Hitting Arms (4 of 8) Novak Djokovic's forehand from a neutral position, filmed from a side animation angle. The contact point is slightly in front of his body with a straight hitting arm and a slightly closed racket face as the racket accelerates upward along a modern windshield-wiper path.
4.1s
Developing World Class Volleys (4 of 11) Pat Cash's punch volley from a central net position, filmed from a side angle. His knees stay flexed with a short forward leg drive while the hips remain relatively square to the net, giving a compact, stable base through contact.
3s
Developing World Class Volleys - the Backhand Volley (4 of 9) Pat Cash's backhand volley from a central court position, filmed from a side angle. His follow-through extends slightly forward with the racket head out in front as his weight moves through the ball and he quickly resets the non-hitting hand toward the throat of the racket to return to a ready position.
4.9s
Pat Cash on the Volley - Part 4 (4 of 6) Paul Fein animates Pat Cash’s volley technique from a central court position, filmed from a side/court-level angle. The animation emphasizes the racket face staying slightly open at contact with the ball struck just in front of the lead hip and below shoulder height.
3.1s
Pat Cash on the Volley - Part 2 (5 of 15) Paul Fein's animation focuses on the elbow bend in the volley from a neutral court position, filmed from a side angle. The racket stays slightly in front of the body at contact with a compact elbow bend, keeping the racket face stable and slightly open through the hitting zone.
5.8s
Bent versus Straight Hitting Arms (5 of 8) Pat Cash’s forehand from a neutral position, filmed from a side animation angle. The animation clearly contrasts a straighter hitting arm with a more bent-arm pattern, emphasizing how each option alters the degree of shoulder turn and trunk coil before uncoiling into contact.
4s
Developing World Class Volleys - the Backhand Volley (5 of 9) Pat Cash's forehand inside-out from the center of the court, filmed from a side angle. His small adjustment steps set up a semi-open stance, with a clear split-step before pivoting and loading on the outside leg.
4s
Developing World Class Volleys (5 of 11) Pat Cash's volley from the net area, filmed from a side angle. His left hand stays active in front of his body during the follow-through, then quickly returns to the ready position to aid recovery for the next shot.
3.7s
Pat Cash on the Volley - Part 4 (5 of 6) Paul Fein’s volley animation from a central court position, filmed from a side angle. The shoulder line clearly rotates as the trunk coils early and then uncoils through contact, with the hitting-side shoulder driving forward in sequence with the torso.
4.1s
Developing World Class Volleys - the Backhand Volley (6 of 9) Pat Cash’s backhand volley from the net area, filmed from a side animation angle. His staggered neutral stance and small adjustment steps into contact emphasize getting the front foot slightly forward as he moves through the volley.
3.1s
Pat Cash on the Volley - Part 2 (6 of 15) Paul Fein’s volley animation from the center of the court, filmed from a side angle. His weight transfers forward into the court as the racquet finishes slightly in front while the non-hitting hand stays back to help him recover quickly to a ready position.
4.7s
Bent versus Straight Hitting Arms (6 of 8) Pat Cash analyzes Stan, Serena, and Andy’s forehands from a neutral baseline position, filmed from a side animation angle. The side view makes it easy to see the difference in their wrist lag and the way each player firms up the hitting wrist just before and through contact.
11.9s
Developing World Class Volleys (6 of 11) Pat Cash's volley drill at the net, filmed from a side court-level angle. The racket face stays slightly open at contact with the ball struck just in front of the leading hip, emphasizing a compact forward punch with minimal backswing.
3.2s
Pat Cash on the Volley - Part 4 (6 of 6) Pat Cash’s volley animation from the net area, filmed from a front angle. His hips stay relatively square to the net while his knees flex slightly, giving a stable base as he steps forward through the volley.
2s
Developing World Class Volleys - the Backhand Volley (7 of 9) Pat Cash's backhand volley from the net area, filmed from a side angle. His open stance recovery is clear as his weight transfers forward and he quickly brings both hands back toward a neutral ready position after the follow-through.
4.7s
Developing World Class Volleys (7 of 11) Pat Cash's volley animation from a central court position, filmed from a side angle. The side view makes the early shoulder turn and compact trunk rotation clear, with the torso staying relatively quiet as the shoulders initiate the forward motion before the arm and racket head.
5.2s
Developing World Class Volleys - the Backhand Volley (8 of 9) Pat Cash's backhand volley from the net area, filmed from a side angle. The racket face is slightly open at contact with the ball struck just in front of his body and around waist height, with a compact forward punch and minimal follow-through.
3.9s
Developing World Class Volleys (8 of 11) Pat Cash's forehand in an open stance from a neutral baseline position, filmed from a side angle. His shoulders turn significantly more than his hips to create strong trunk coil, then the torso uncoils ahead of the arm swing, clearly showing the kinetic chain from legs through core to shoulder rotation.
6.2s
Developing World Class Volleys (9 of 11) Pat Cash's volley from a central net position, filmed from a side angle. His weight drives forward through the shot and he quickly brings the racquet back to a compact ready position in front of his body for the next ball.
3.4s
Developing World Class Volleys - the Backhand Volley (9 of 9) Pat Cash’s backhand volley from the net position, filmed from a side angle. His shoulders and trunk stay slightly closed through contact with a compact coil and minimal uncoiling, emphasizing a short kinetic chain dominated by the shoulder girdle rather than a large torso rotation.
6.6s
Developing World Class Volleys - the Backhand Volley (1 of 9) Pat Cash's backhand volley from the net, filmed from a court-level side angle. The racket face stays slightly open at contact with the ball meeting the strings just in front of his lead hip, and the compact punch keeps the racket head traveling almost straight through the hitting zone.
5.6s

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