Just to spread the love, Jimmy. I don't want you only coming in the middle.
Alright, get set at mid-shin for us, Richard.
And high pull.
And back down to mid-shin.
And high pull.
And mid-shin.
And high pull.
Alright, Mike, what are you thinking?
Visual cue for wrong and then right.
[Mike talking. Inaudible.]
Hmm. Alright Richard.
That's better, that's better.
Hmm, OK.
So you tell me what you were trying to fix because I don't think I saw a difference in your movement for your demo.
OK, I actually think the timing was OK on that lift.
So something that you want to think about from your
visual is—I don't know if you guys were struggling the difference,
I actually just kinda saw him break it up, I didn't necessarily see the difference in the timing.
So I would just say try to make it a little bit more obvious.
Let's say that he is pulling early,
let's see your visual cue for that again. How could you do it more obvious, Mike?
Yeah, awesome. You guy see how that's way more obvious? And then what would be good for that?
So, that would be bad. This is what you're doing.
I want you to do ...
Yeah, so that would be a more clear
example of the visual cue.
Let's watch Richard again.
Come on over here, Mike.
What was that thing we talked about—I don't want him to hear it too much—
was an athlete allowed to come up on their toes?
Well ...
only because of what?
Their hip extension. Yeah.
So we wanna make sure that if he comes up on his toes
it's after he comes back to that straight line
and that pressure stays back in his heels all through that part, OK?
So I want you to try to watch that a little bit more
of a side view might help here.
So come on over here just a smidge.
Here we go, Richard, now you might have heard some mumblings, but
whatever. OK, ready and high pull.
And reset. Do you think he's coming to his toes
because of an after violent hip extension or before?
Before. Yeah, so let's try to think of a visual cue to try to fix that.
Yep.
OK.
Cool. From a coaching perspective
still could be a little complicated to take all of that in.
You're like, this is a lot for them to watch.
How else can we just sort of
accentuate this idea of trying to keep the heels down.
Maybe, don't even use the arms, just the legs.
Yeah, I might do something so simple. Richard, you're like this
I want you to be like this.
Now if the heels come up slightly because of an after
that's OK, but right now I'm trying to get a really simple visual cue
so try that. I want you give that a try Mike.
Richard, this is what you're doing ...
great, here we go Richard.
And high pull.
Huh. Better, same or worse?
Do it one more time.
And high pull.
OK, a little bit better.
Still doing it. We may have to get in there with a tactile cue
maybe a verbal cue, something like that,
but that was kind of the fault I was going to pull him in—same thing with Jimmy and a little bit Jose—
was that premature ...
I saw that at first and I thought it was because
it was because of the hips and that's why I was trying to see if the hips would do that first.
I gotcha.
OK. Yeah, I think it was just more of a shift
and less to do about the arm timing,
so that's wy I would have gone after that.
But just really simplify your movement and show it really bad
worse than it might be
and then good, so your athlete can clearly see the difference.