...Just not the kind you're used to seeing here.
The 4 ball (solid purple) is touching the rail; the 11 ball (red stripe) is touching the 4. The object is to get the 3 ball (solid red) into the corner pocket. Since the two blocking balls are directly in the path of the cue ball, this would seem to be impossible. But behold:
So why am I showing you this, when I promised no more pool posts? Well, because it's also the very first video I e-v-e-r made with my NEX-6, when I've always said I have absolutely zero interest in making videos with digital cameras. Showing that a softening of position is possible for even the most recalcitrant of curmudgeons-in-training. What strange things our enthusiasms can lead us to do.
I admit my video technique needs work. (And it's still an extremely good bet that this isn't going to turn into a videography blog any time soon.)
The shot is from page 116 of Ray Martin's The 99 Critical Shots in Pool.
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(To see all the comments, click on the "Comments" link below.)
Featured Comments from:
Michel: "What's next, a TOP Instagram account?!?"
Edward Taylor: "Mike, be afraid, be very afraid. I dabbled in video one day after having barely any interest for 40 years of still photography, and within six months my focus had shifted to a fifty-fifty mix. I probably spend way more time on making videos than on photography now (largely because video is much more time consuming). And if you think photography is expensive, video seems like a sport for billionaires or perhaps kings. The camera is often the least of the expense. And, Photoshop is child's play compared to After Effects. Still photography and videography are far more dissimilar than similar. For example, sound is as important as image in videography."
scott kirkpatrick: "Is that you making the shot? Or just shooting the video of making the shot? How do you plan that one?"
Mike replies: That's me doing the shot. And it's actually not hard—you just use follow (shoot high on the cue ball) and aim directly for the 11. The hard part is recognizing what will happen, what Ray Martin in the book calls "ball interplay." The trick is recognizing the counterintuitive way that the two frozen balls will react when struck. The strike whisks them out of the way, and the spin on the cue ball then carries it forward toward the 3. I have yet to miss the shot, so I think anybody could do it. But I would never have figured it out on my own.
Here is another fabulous example of ball interplay on the fly: go to this video and start playing it at about the 21-minute mark. They're playing 10-ball, so by the rules, Efren Reyes has to hit the 4 ball (solid purple) first, and sinking the 10-ball (blue stripe) wins the game.
He appears to be completely stymied; the announcer even says "I don't think there's offense here," i.e., he doesn't even have a shot. Reyes then taps the near corner pocket because by rule he must call the 10 ball. Then watch what he does.
An amazing shot, one that takes unusual mastery just to recognize as possible. (Not for nothing do they call Reyes "The Magician.")
Sorry, now I am talking about pool and not videography. I'll slap myself on the wrist. [g]