Your jump shot, measured to the degree.
Dip depth, release angle, follow-through hold — the numbers pro trainers use, from one side-on phone clip in your driveway. Elbow alignment is a front-on read; film that angle another day.
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What the coach measures
One clip, one angle — here's what each angle can read. Film the other angle another day for the rest.
A settled moment before the dip. Great shooters look identical before every shot - that's the routine doing its job.
The dip loads your legs - elite shooters dip on almost every shot, and power comes from here, not the arms. The window is wide on purpose: across seven published proficiency splits the deepest knee bend runs 94-122 degrees, and the studies disagree about where inside that the better shooters sit - one has them deeper, one shallower, four find no difference, and the only professionals ever measured bend the LEAST of anyone at the free-throw line. So this scores whether you loaded at all, not how well you loaded. Nearly straight legs are the fault it can see.
How far your hips sink in the load. Too shallow and the arms have to muscle the shot; too deep and the rhythm dies.
The deepest bend your shooting elbow reaches between the dip and the release - and it is bent far tighter than the coaching cliche. Every study that measured a deepest bend puts skilled shooters at 50-66 degrees; nobody has ever measured a group at the 'classic L' of 90. An arm already half-straight here skips the power stage and the shot becomes a shot-put.
The launch angle of your forearm at release - a proxy for arc. Around 50 degrees sends the ball on the high, soft flight that rims forgive.
The elbow finishes almost straight - the ball leaves off a full extension and wrist snap, not a push. Read it as a yes-or-no check rather than a grade: published shooters of every level finish at 152-161 degrees, proficient and not alike, so the fault this can see is the bent, quitting arm below about 145.
Feet about shoulder width, shooting-side foot slightly forward. Your base decides whether the rest of the shot repeats.
A settled moment before the dip. Great shooters look identical before every shot - that's the routine doing its job.
The dip loads your legs - elite shooters dip on almost every shot, and power comes from here, not the arms. The window is wide on purpose: across seven published proficiency splits the deepest knee bend runs 94-122 degrees, and the studies disagree about where inside that the better shooters sit - one has them deeper, one shallower, four find no difference, and the only professionals ever measured bend the LEAST of anyone at the free-throw line. So this scores whether you loaded at all, not how well you loaded. Nearly straight legs are the fault it can see.
How far your hips sink in the load. Too shallow and the arms have to muscle the shot; too deep and the rhythm dies.
How far your elbow sits out to the side of your wrist through the rise, averaged over the whole rise and measured in torso-lengths. A flared elbow sprays misses left and right. Only scored on a clip filmed FACING you - from the side, the elbow flares straight toward or away from the lens and no single camera can see it. The bands come from arm geometry rather than a calibration set, so read them as approximate: the segment this measures across is the forearm, elbow to wrist, which runs about half a torso-length - putting 0.12 near 14 degrees of forearm tilt and 0.32 near 39.
The elbow finishes almost straight - the ball leaves off a full extension and wrist snap, not a push. Read it as a yes-or-no check rather than a grade: published shooters of every level finish at 152-161 degrees, proficient and not alike, so the fault this can see is the bent, quitting arm below about 145.
A category the clip can't show clearly comes back blank rather than guessed — and if too much of the movement is unreadable, we hold the overall score back instead of averaging what is left.
The report, start to finish
Explore it — this is the layout you get. The numbers below are a worked example, not a recording of someone's clip.
Drills the coach prescribes
3 feet from the rim, shooting hand only, guide hand behind your back. Perfect line and arc from point-blank - the foundation drill of every great shooter.
Shoot at a spot on a wall: full extension, snap, hold. No rim feedback means you focus purely on the motion.
Balance-Eyes-Elbow-Follow-through. Start close; two makes in a row earns one step back. Miss twice, step in.
Mid-range shots taking the guide hand OFF the ball just before release. If the ball sprays, your guide hand was doing more than guiding.
How to film it
- ✓ Film portrait from chest height, 10-15 feet away - you should stand about a third of the frame tall, head to feet. Below a fifth the clip is usually rejected outright
- ✓ Whole body in frame - feet to fingertips through the follow-through, with headroom above the release
- ✓ Prop the phone on something that won't move; nobody holds it. Dip depth, release timing and jump drift are all skipped on a moving camera
- ✓ One shot per clip; stand still for a second before the dip so there's a setup to read
- ✓ Two angles, two different reads - neither is deeper. Side-on to your shooting arm is the only way to see your set-point elbow and release angle; facing you, both of those point straight at the lens. Facing you is the only way to see stance width and elbow alignment, and it covers a little more of the shot overall - side-on leaves Setup resting on a single reading, so one low-confidence read blanks that whole category. Alternate across a session to get both halves
- ✓ Decent light - gyms at night are tough on cameras
Fix your basketball
- Shooting Air Balls? Finish the Shot You Started
- BEEF Shooting Form — a Checklist That Actually Works
- The Drifting Jumper — Land Where You Took Off
- Elbow Flare — Get Your Shooting Elbow Under the Ball
- Extend Your Range Without Slinging the Ball
- Flat Jump Shot? Add Arc Without Rebuilding Your Form
- Hold Your Follow-Through — It's Proof, Not Style
- Build a Free-Throw Routine That Survives Game Pressure
Your baseline is one clip away
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