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Jacques Chapdelaine (604) 930-5486 [email protected] March 6, 2004. “ADVANCED RECEIVER SKILLS”. PRESENTATION OUTLINE. A) GETTING UPFIELD: - Releases - Stem & Move Area bring the receiver to a point where most fundamental mechanical mistakes occur B) BREAKING POINT:

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Jacques chapdelaine 604 930 5486 jchapdelaine bclions

Jacques Chapdelaine

(604) 930-5486

[email protected]


Advanced receiver skills

March 6, 2004

“ADVANCED RECEIVER SKILLS”


Presentation outline

PRESENTATION OUTLINE

A) GETTING UPFIELD:

- Releases

- Stem & Move Area

bring the receiver to a point where most fundamental mechanical mistakes occur

B) BREAKING POINT:

- common mistakes

- points to always keep in mind

- Jam & snap drills

- Hip flexibility drills

- Cylinder drills

- Accelerating out of the break drills

C) CATCHING THE BALL:

- 1-eye-drills

- Core ball drills


Getting upfield running routes

GETTING UPFIELD:RUNNING ROUTES

There are three distinct parts to a route:

  • 1. Release.

  • 2. Stem & Move Area ( which includes burst technique )

  • 3. Breaking Point.


A 1 releases

A.1 RELEASES

  • Use outside radical, inside radical, speed releases combined with appropriate waggle or motion to make defensive backs retreat and change their alignments on you. HAVE A PLAN, you need to know what you will do before you do it. Film study, reps and the pattern concept will indicate which release to use. Don’t be afraid to experiment in practice. These releases should allow you to gain favorable position, shade or cushion, on the DB right off the L.O.S.


A 1 a radical releases

A.1.a) RADICAL RELEASES

Radical releases allow you to threaten the DB in two directions at a time. A radical release can also provide early coverage reads.


A 1 b waggle

A.1.b) WAGGLE

An end (w.r.) may waggle to soften the db’s cushion or to gain an advantage in shade. Slots will usually waggle to marry the concepts of speed and radical releases.


Sample waggles

SAMPLE WAGGLES

  • #1 vs press

  • #2 inside radical

  • #3 speed release


A 1 c motion

A.1.c) MOTION

The alignment of a receiver will normally be changed due to motion. Motion in itself does not quantify as a release, but it will greatly enhance the reads and the release of the receiver. Motion can also provide an opportunity to create coverage mismatches.


Sample motion

SAMPLE MOTION

  • #2 motions inside to run the flat route

  • #3 motions outside to force Lb to cover the corner route


Sample motion1

SAMPLE MOTION

VIDEO CLIPS


A 2 stem move area

A.2) STEM & MOVE AREA

After your release, you’ll enter the stem in one of four situations:

  • HEAD-UP

  • WRONG-SHADE

  • RIGHT-SHADE

  • ON-TOP

    In the first three situations always release with your head up so that you can catch the DB’s eyes. Your goal is to keep his eyes fixed on yours right up to the move area. The move area will help you finish the DB.


A 2 a head up stem

A.2.a) HEAD-UP STEM

You now have a two-way go and the DB is in his backpedal. Unless you’re against an exceptional athlete, the DB is on his heels and you have him beat in most direction. Never cross the DB’s face twice. Keep your head and shoulders upfield, failure to do so will allow the DB to squat on the route. A radical burst in the move area will make him turn his hips, step on his toes and finish him.


A 2 b wrong shade stem

A.2.b) WRONG-SHADE STEM

  • Use a radical stem in order to change shade on the DB during the stem of the route.

  • Catch his eyes and aim at his nose (not opposite shoulder).

  • Head-up the DB as you approach the move area - be aware of field spacing & distribution.

  • Burst & Sweep to get the DB to turn his hips up field and cross the DB’s shade on the break.


A 2 c right shade stem

A.2.c) RIGHT-SHADE STEM

Ideal for speed cuts. The danger here is to give away the direction of the break by leaning outside of your cylinder in the move area and let the DB run under the cut. Sell the deep route before the break or step on the DB’s toes (subtle head-up technique) in the move area. Keep the stem simple if you have the right shade, never cross the DB’s face twice.


A 2 d on top stem

A.2.d) ON-TOP STEM

If you’re on-top you should have released to the side of your break, otherwise you’re about to cross the DB’s face for a second time. The DB will try to stay under the route as you break, can you feel his hand on your hip? Get a two way go and create separation in the move area. The DB will get his clues from your helmet, your shoulders and your hips. Re-establishing a two-way go will not be enough if you don’t let him misread one of his clues. If you’re going deep, don’t let the DB collapse the route: hold your line.


Stems

STEMS

VIDEO CLIPS


A 2 e move area

A.2.e MOVE AREA

You must create an illusion of speed burst (separation from the DB-possible double move) immediately before the break. To do so, make sure that:

1.You've caught the DB’s eyes

2.Your arms are active and close to your body

3.You create a forward lean that sells the deep route (shoulders over the feet)

If done properly, you should be able to turn the DB's hips before the break. Thus going from a two-way go to a situation that makes the DB uncomfortable.


A 2 e move area cont d

A.2.e) MOVE AREA (cont’d)

Common mistakes going into the break:

1.Airplane arms

2. Dead arms

3.Leaning back / sitting in the chair / loss of speed

4. Looking down at the ground

5.Feet outside of cylinder / forward or lateral

6.Breaking down / chicken scratching


Move area mistakes

VIDEO CLIPS

MOVE AREA MISTAKES


B 1 breaking point

B.1) BREAKING POINT

1.Head and shoulders should be over your plant foot, still threatening deep.

2.DB’s are looking for receivers to start showing their numbers as they sit in the chair.

3.Plant on your outside foot, allowing for a slight pigeon-toed angle.

4.Maintain the integrity of your body cylinder, even if you may have created a burst in the opposite direction of your route.


B 1 breaking point cont d

B.1) BREAKING POINT (cont’d)

5.Don't look down, freeze the DB with your eyes.

6.Elbow jam into the break, and snap out of the break.

7.Always maintain the integrity of the breaking angle, do not drift, if anything, be aggressive in coming back towards the QB


Breaking point drills elbow jam snap emphasize arm action

BREAKING POINT DRILLSElbow jam & snap : emphasize arm action

1) Drive & Snap : starts on stairs 3 – 4 steps

2) walk, high knees,

run through half-moon drill


Breaking point drills elbow jam snap emphasize arm action1

BREAKING POINT DRILLSElbow jam & snap : emphasize arm action

3) walk, high knees,

run through Square drill

4) walk, high knees,

run through Zig Zag drill


Breaking point drills h ip flexibility

BREAKING POINT DRILLSHip Flexibility

  • Carioca: Inside Knee Drive

  • 2) Carioca: Outside Knee Drive

  • 3) open hip shuffle

  • 4) Open hip shuffle drive to sprint

  • 5) Back to open hip: 180 degree


Breaking point drills shoulders over the feet

BREAKING POINT DRILLSShoulders over the feet :

1) 1 step cuts knee down: (option : add 1 cone for snap step)

2) 1 step cut: Standing up


Breaking point drills

BREAKING POINT DRILLS

VIDEO CLIPS


C catching drills

C) CATCHING DRILLS

1) STANDING DRILLS:

- CHEST

- BELOW THE WAISTE

- SIDEWAYS

- OVER THE SHOULDER

2) CORE BALL DRILLS:

- CHEST

- BELOW THE WAISTE

- SIDEWAYS

- OVER THE SHOULDER


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