Video Library (39 videos)
| Name |
FPS |
Duration |
Ball Watching: Part 1 (1 of 48)
Paul Hamori’s baseline neutral-position instruction, filmed from a side animation angle. His teaching emphasizes a small, early split-step followed by compact adjustment steps that keep the stance neutral as the ball approaches.
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5.9s |
Contact at 10,000 Frames Per Second (1 of 81)
Paul Hamori’s forehand from a central baseline position, filmed from a side CourtLevel angle. His follow-through wraps across his body with his non-hitting hand counterbalancing behind him before he returns to a neutral ready stance.
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9s |
The Most Important Bones in Tennis (1 of 10)
Agassi's stroke biomechanics animation from a neutral court position, filmed from a side angle. His follow-through finishes across his body with clear hip and shoulder rotation, and he quickly returns his non-hitting hand toward the racket to re-establish a balanced ready position.
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4.9s |
The Tennis Brain: Part 2 (1 of 8)
Paul Hamori’s forehand contact point animation from center court, filmed from a side angle. His stance is clearly neutral at impact, with the front foot planted and weight transferring forward in a compact, controlled step pattern.
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2.5s |
The Tennis Brain (1 of 20)
Federer's forehand from a neutral position, filmed from a side animation angle. The contact point is clearly in front of his body with a slightly closed racket face and a steep upward swing path that accelerates the racket head through the ball.
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16.9s |
The Ball Bounce at 10,000 Frames Per Second
Medvedev's groundstrokes from the center of the baseline, filmed from a side CourtLevel angle. His relatively late but pronounced shoulder and trunk coil into contact makes the uncoiling sequence of hips–torso–shoulders easy to distinguish frame by frame.
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10s |
The Ball Bounce at 10,000 Frames Per Second (1 of 10)
Medvedev's forehand from the center of the court, filmed from a side CourtLevel angle. His shoulders and trunk load into a deep coil with the hitting-side shoulder turning well behind the baseline before uncoiling in sync with the hips to drive the kinetic chain forward.
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10s |
Ball Watching: Part 3 (2 of 6)
Paul Hamori's eye shift and tracking lesson from a central court position, filmed from a front camera angle. You can clearly see how his hips stay relatively quiet while his knees maintain a soft bend, allowing his legs to adjust small steps as his eyes move between the contact zone and opponent.
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3.3s |
Contact at 10,000 Frames Per Second (2 of 81)
Paul Hamori’s forehand contact animation from center court, filmed from a side angle. The racket face is slightly closed at a contact point just in front of the lead hip, with the strings brushing up the back of the ball on a steep low-to-high swing path.
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9.6s |
The Tennis Brain: Part 2 (2 of 8)
Novak Djokovic's groundstrokes from the center of the court, filmed from a side animation angle. You can clearly see the deep shoulder turn creating a strong trunk coil, followed by a sequential uncoiling from hips to shoulders that brings the hitting shoulder through well in front of the body.
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5.9s |
The Tennis Brain (2 of 20)
Roger Federer's forehand from the center of the court, filmed from a side angle. His follow-through finishes high with the racquet wrapping over his shoulder as his weight transfers fully onto his front foot before he recovers to a neutral ready position.
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19.8s |
Ball Watching: Part 1 (2 of 48)
Paul Hamori’s forehand hitting cycle animation from a central court position, filmed from a side angle. The sequence clearly depicts sustained wrist lag through the forward swing with a relaxed grip, then a controlled release of the wrist into contact.
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5.6s |
The Most Important Bones in Tennis (2 of 10)
Paul Hamori’s serve pronation animation from a neutral court position, filmed from a side biomechanical view. His footwork remains static in a platform stance, with knees flexed and weight loaded on the back leg before driving up into the pronation phase.
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4.7s |
The Ball Bounce at 10,000 Frames Per Second (2 of 10)
Paul Hamori’s forehand topspin shot 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 loads on the outside leg, with a clear split-step and small adjustment steps before contact.
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17.5s |
Contact at 10,000 Frames Per Second (3 of 81)
Paul Hamori’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 in sequence with the trunk so the chest faces forward just after contact, clearly illustrating upper-body contribution to racket-head speed.
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7.9s |
Ball Watching: Part 1 (4 of 48)
Paul Hamori's instructional animation on ball watching, filmed from a diagrammatic side-view angle. The follow-through is illustrated with the hitter’s head staying oriented toward the contact zone while the body and racquet complete the motion, emphasizing tracking the ball before recovering to a neutral ready position.
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4s |
Ball Watching: Part 3 (3 of 6)
Paul Hamori's eye-position animation on court, filmed from a side angle. The side view makes it clear how his wrist stays relatively neutral and stable while the focus is on keeping the head still and eyes off the incoming ball at contact.
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4.5s |
The Tennis Brain: Part 2 (3 of 8)
Roger Federer's groundstrokes from the center of the baseline, filmed from a side court-level angle. His hips load with a pronounced knee bend and then uncoil upward as his legs drive through the court, clearly showing the timing between leg extension and hip rotation.
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5.7s |
The Most Important Bones in Tennis (3 of 10)
Federer's forehand from the center of the baseline, filmed from a side animation view. His hips clearly lead the motion with noticeable external rotation of the rear leg and a deep knee bend that loads into an explosive upward and forward leg drive.
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7.7s |
The Tennis Brain (3 of 20)
Roger Federer’s forehand from a neutral baseline position, filmed from a side animation angle. The side view makes the pronounced wrist lag in his semi-western grip easy to see just before he whips the racquet forward into contact.
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6.4s |
The Most Important Bones in Tennis (4 of 10)
Dominic Thiem's groundstroke animation from a neutral baseline position, filmed from a 3D biomechanical model angle. His shoulders rotate well past 90 degrees relative to the hips in the unit turn, then the trunk uncoils sequentially from pelvis to ribcage to shoulders before the arm accelerates.
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6.2s |
Ball Watching: Part 1 (3 of 48)
Paul Hamori'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 the racket head accelerates upward along a low-to-high swing path through the ball.
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6.4s |
Ball Watching: Part 3 (4 of 6)
Paul Hamori's footwork lesson on not following the ball, filmed from a court-level side angle. He emphasizes an early split-step and immediate recovery steps back to a neutral ready position instead of drifting forward toward the shot.
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4.4s |
The Ball Bounce at 10,000 Frames Per Second
Paul Hamori's flat forehand from a neutral court position, filmed from a side animation angle. His semi-western grip is evident in the closed racket face at takeback, and the wrist pronates rapidly through contact with minimal wrist lag.
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13s |
The Ball Bounce at 10,000 Frames Per Second (4 of 10)
Paul Hamori’s flat forehand from the center of the court, filmed from a side court-level angle. His semi-western grip is clear, with the wrist laid back in pronounced lag through the forward swing before a firm, minimal wrist snap at contact.
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13s |
The Most Important Bones in Tennis (5 of 10)
Isner's serve from a neutral stance, filmed from a side animation angle. His continental grip is clear, with a loose wrist that pronates aggressively through contact to maximize racquet-head speed.
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8.1s |
Contact at 10,000 Frames Per Second
Paul Hamori's rally ball from a neutral court position, filmed from a side angle. His hips load into a strong external rotation with noticeable knee flexion before driving upward and forward through the ball.
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9.1s |
Contact at 10,000 Frames Per Second (4 of 81)
Paul Hamori's neutral rally ball from center court, filmed from a side angle. His hips stay relatively closed at load with a noticeable knee bend, then unwind in sync with a strong leg drive upward and into the court.
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9.1s |
Contact at 10,000 Frames Per Second (5 of 81)
Paul Hamori's forehand contact animation from a central court position, filmed from a side angle. The racket face is slightly closed at impact with contact made just in front of the lead hip, and the racket head accelerates upward on a steep low-to-high path.
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4.9s |
The Ball Bounce at 10,000 Frames Per Second
Paul Hamori's forehand, backhand, and serve animations from a central court position, filmed from a side biomechanics angle. The contact points are clearly depicted with the racket face angle at impact and the swing path traced to show how the racket head moves through the hitting zone on each stroke.
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43.2s |
The Ball Bounce at 10,000 Frames Per Second (5 of 10)
Paul Hamori’s forehand contact animation from center court, filmed from a side CourtLevel angle. The racket face stays slightly closed at ball impact with contact just in front of the lead hip, clearly showing the upward swing path through the hitting zone.
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43.2s |
Ball Watching: Part 3 (5 of 6)
Paul Hamori’s instructional animation on ball watching and timing, filmed from a mixed side and rear tactical angle. The animation emphasizes how the shoulders and trunk stay coiled toward the incoming ball longer, then uncoil in sync with the contact point to discourage premature head movement and ball watching errors.
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4s |
Contact at 10,000 Frames Per Second (6 of 81)
Paul Hamori’s forehand from a neutral position, filmed from a side court-level angle. His follow-through finishes high across his body with the non-hitting hand counterbalancing in front as he quickly returns to a ready stance.
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9.3s |
Ball Watching: Part 3 (6 of 6)
Paul Hamori’s forehand from the center of the baseline, 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 before he recovers toward a ready position.
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6.8s |
Contact at 10,000 Frames Per Second
Paul Hamori's serve from a central baseline position, filmed from a rear court-level angle. His feet load in a platform stance with a clear weight shift onto the back leg before driving up and into the court, followed by a pronounced front-leg land that sets up an immediate recovery step.
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8.1s |
Contact at 10,000 Frames Per Second (7 of 81)
Paul Hamori’s serve from a central baseline position, filmed from a side CourtLevel angle. His footwork features a controlled platform stance with a pronounced knee bend and upward leg drive timed just before racket drop into the contact phase.
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8.1s |
Contact at 10,000 Frames Per Second (8 of 81)
Paul Hamori’s forehand contact sequence is presented in an animated technical breakdown, filmed from a close-up side angle. His semi-western grip and firm but relaxed wrist position make the gradual uncoiling and late wrist pronation into contact clearly visible frame by frame.
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7.9s |
Ball Watching: Part 3 (1 of 6)
Federer's backhand from a neutral court position, filmed from an animated side view. The contact point is slightly in front of his hip with the racket face almost square to the ball and the racket head accelerating upward along a steep, low-to-high swing path.
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7.8s |
The Ball Bounce at 10,000 Frames Per Second (3 of 10)
Paul Hamori's slice from the center of the court, filmed from an animation-style side angle. His hips stay relatively closed while the knees flex noticeably during the loading phase, with the back leg driving slightly forward to support the low, skimming slice trajectory.
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12.7s |
