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O ver the years we have come to realize that scouting and film breakdown are essen- tial elements of game preparation. Without a framework to use when breaking down film, it's possible to miss key elements that might come back to haunt us on game day. One particular game a few years ago drove home this point. We had prepared for it with a very bad scout- ing tape and r\otes taken by a parent. Tn the game, the opposing QB proved to be very elusive with the QB keeper and throwing in the perimeter. We did not realize that he was by far their best athlete and needed special attention and emphasis in our game preparation. We ended up losing by a point and learning a hard lesson. Rather than look at film and just take notes, we have come up with a system of asking essential questions that can help us break down film and construct the offensive and defensive game plan that we can pass on to our players. We start with the premise that there is no substitute for good game film. With no film exchange at our level, the quality of the film is entire- ly left to our staff. We have to train our film people to get the type of shots we want... and that does not always mean a scope that spans the LB's and the offensive backfield. For instance, in long yardage situ- ations we want a wider angle to get a look at pass routes. In short-yardage situations we like a tighter focus of the offensive and defensive lines. We also find it helpful to get at least a few shots at ground level in back of the offense and defense, to give us an idea of offensive splits and defensive gap responsibility and alignment. Again, there is no substitute for good game film. The actual breakdown of film is separated into two areas. We start with our opponents' defense. (1 think it is far better to concentrate on one side of the ball rather than flip-flop back and forth.) As we go along, we attempt to answer our essential defensive ques- tions. Sometimes it requires a second review of key plays to answer every question accurately. Our essential defensive questions are as follows: De^nse: I. What is their base defense? Any other alignment? How do they adjust to Iwins and trips? Do they flop the defensive ends and linebackers based on offen- sive alignment, and can we quick-snap them? Do they have a comer or a line- backer who plays the wide side? Do the LBs stunt? Do they run twists with the linemen? How do they tackle scale 1-5? Who is their weakest defensive lineman? Weakest comer? Do the LB's tap and gap exchange with the linemen? Rate the LB speed. Scale 1-5 Do they blitz? Strong side? Weak side? Inside blitz or off the edge? What down? II. Do they corner or safety blitz? 4. 5. 6. 7. 8 9. 10 4O COACH AND ATHLETIC DIREt

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Page 1: film Breakdown

O ver the years we havecome to realize thatscouting and filmbreakdown are essen-

tial elements of game preparation.Without a framework to use whenbreaking down film, it's possible tomiss key elements that might comeback to haunt us on game day.

One particular game a few yearsago drove home this point. We hadprepared for it with a very bad scout-ing tape and r\otes taken by a parent.Tn the game, the opposing QB provedto be very elusive with the QB keeperand throwing in the perimeter.

We did not realize that he was byfar their best athlete and neededspecial attention and emphasis inour game preparation. We ended uplosing by a point and learning ahard lesson.

Rather than look at film and justtake notes, we have come up with asystem of asking essential questionsthat can help us break down filmand construct the offensive anddefensive game plan that we canpass on to our players.

We start with the premise thatthere is no substitute for good gamefilm. With no film exchange at our

level, the quality of the film is entire-ly left to our staff. We have to trainour film people to get the type ofshots we want... and that does notalways mean a scope that spans theLB's and the offensive backfield.

For instance, in long yardage situ-ations we want a wider angle to get alook at pass routes.

In short-yardage situations we likea tighter focus of the offensive anddefensive lines. We also find it helpfulto get at least a few shots at groundlevel in back of the offense anddefense, to give us an idea of offensivesplits and defensive gap responsibilityand alignment. Again, there is nosubstitute for good game film.

The actual breakdown of film isseparated into two areas. We startwith our opponents' defense. (1 thinkit is far better to concentrate on oneside of the ball rather than flip-flopback and forth.)

As we go along, we attempt toanswer our essential defensive ques-tions. Sometimes it requires a secondreview of key plays to answer everyquestion accurately.

Our essential defensive questionsare as follows:

De^nse:I. What is their base defense? Any

other alignment?How do they adjust to Iwinsand trips?Do they flop the defensive endsand linebackers based on offen-sive alignment, and can wequick-snap them?Do they have a comer or a line-backer who plays the wide side?Do the LBs stunt? Do they runtwists with the linemen?How do they tackle scale 1-5?Who is their weakest defensivelineman? Weakest comer?Do the LB's tap and gapexchange with the linemen?Rate the LB speed. Scale 1-5Do they blitz? Strong side? Weakside? Inside blitz or off theedge? What down?

II. Do they corner or safety blitz?

4.

5.

6.7.

8

9.10

4 O COACH AND ATHLETIC DIREt

Page 2: film Breakdown

Football FilmsAgainst what formations?What down?

12. Do their d-ends box, come up thefield or read?

13. Rate the DB speed. Scale 1-514. Do the d-backs use press cover-

age? Cover 3? Cover 2? Cover 1?

15. Punt depth and alignment. Ratethe long snapper, scale 1-5. Canwe block their punt? Middle

block or off the edge?16. Punt coverage alignment and

speed?17. Who makes most of the tackles?18. How does the defense react to

motion19. When and where do they use

their goal-line defense?20. Do they have any trick or special

plays?

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After reviewing team defense, wemove on to our opponents' offense,charting every offensive play withresult and down, then creating ouressential offensive questions.

Offense:1. Identify their four best plays.2. Script six other plays in rank

order for a total package of 10.For 50/50 pass-run teams, scriptfive best run, five best pass.

3. What plays do they like to useinside the 10?

4. Do they trap or base block forthe fullback?

5. Do their guards pull or are theyprimarily a zone or base block-ing team?

6. Do they run into the tight end oraway?

7. Who can we take advantage ofon their offensive line?

8. How good is the center? Scale1-5

9. Who are their best players?10. Can we blitz and where? Comer?

Safety?

11. Who do they throw to? Sprint?Dropback? Bootleg? Short, medi-um, or long passing game?

12. Rate the QB. Scale 1-5.13. Running backs. Speed rate 1-5.

Size? Blocking?14. Can we use press coverage?15. Do they use motion? Why?

How much do they run playsinto the motion?

16. Punt Depth and coverage? Dothey squeeze the middle?

After completing our offensiveand essential defensive questions, wefeel we have laid a basis for con-structing the offensive and defensivegame plan for our next opponent.

Our defensive game plan hingeson placing special emphasis on stop-ping our opponents' four best plays.

Offensively, our game planinvolves play selection and blitzrecognition. We think that film break-down is the first vital key in gameplanning and by answering essentialquestions we begin to remove the ele-ment of chance from our game plan! •

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Page 3: film Breakdown