Many studies try to understand fundamental soccer skills, most focusing on kicking. However, a full picture of an efficient kick remains incomplete owing to constraints of test designs and difficulties that arise in synchronizing and analyzing information generated by multiple assessment techniques. Previous scientific studies may be generally categorized as: two‐dimensional kinematic analysis using high‐speed cameras, muscle activity studies using electromyog‐raphy, three‐dimensional analysis of the kicking‐leg using a partial‐body model, and kinetic studies using force measurements and modelling. No existing inquiries have used full‐body three‐dimensional motion capture and modelling to examine kicking. The current study remedies this deficiency and defines a full‐body model capable of revealing more detailed characteristics of kicking. Additionally, it reveals effects of long‐term training by comparing novices with skilled athletes and explores new parameters that have potential to aid quantitative evaluations of skill. Results show effective upper‐body movement to be a key factor in creating better initial conditions for a more explosive muscle contraction during kicking. It permits a more powerful quasi whip‐like movement of the kicking leg. Finally, the timely change of distance between the kick‐side hip and the non‐kick‐side shoulder provides a quantitative means of measuring kick quality.

No existing studies of badminton technique have used full-body biomechanical modeling based on three-dimensional (3D) motion capture to quantify the kinematics of the sport. The purposes of the current study were to: 1) quantitatively describe kinematic characteristics of the forehand smash using a 15-segment, full-body biomechanical model, 2) examine and compare kinematic differences between novice and skilled players with a focus on trunk rotation (the X-factor), and 3) through this comparison, identify principal parameters that contributed to the quality of the skill. Together, these findings have the potential to assist coaches and players in the teaching and learning of the forehand smash. Twenty-four participants were divided into two groups (novice, n = 10 and skilled, n = 14). A 10-camera VICON MX40 motion capture system (200 frames/s) was used to quantify full-body kinematics, racket movement and the flight of the shuttlecock. Results confirmed that skilled players utilized more trunk rotation than novices. In two ways, trunk rotation (the X-factor) was shown to be vital for maximizing the release speed of the shuttlecock – an important measure of the quality of the forehand smash. First, more trunk rotation invoked greater lengthening in the pectoralis major (PM) during the preparation phase of the stroke which helped generate an explosive muscle contraction. Second, larger range of motion (ROM) induced by trunk rotation facilitated a whip-like (proximal to distal) control sequence among the body segments responsible for increasing racket speed. These results suggest that training intended to increase the efficacy of this skill needs to focus on how the X-factor is incorporated into the kinematic chain of the arm and the racket.

One of the dominant skills in badminton is the forehand overhead smash, which consists of 1/5 attacks during games. Empirical evidences show that one has to adjust the body position in relation to the coming shuttlecock to produce a powerful and accurate smash. Therefore, positioning is a fundamental aspect influencing smash quality. Unfortunately, a search of literature has shown that there is a dearth/lack of study on this fundamental aspect. The goals of this study were to determine the influence of positioning and training experience on smash quality in order to discover information that could help learn/acquire the skill. Using 3D motion capture and full-body biomechanical modelling, 14 skilled and 15 novice players were analysed. Results have revealed that the body positioning has direct influence on shuttlecock release angle and clearance height of the offensive player. The results also suggest that, for training the positioning of beginners, one could conduct a self-selected comfort position towards a statically hanged shuttlecock and then step one foot back – a practical reference marker for learning. As one gains experience through repetitive training, improved limbs’ coordination would increase smash quality further. We hope our findings will benefit practitioners for developing effective training programmes for beginners.

Biomechanical feedback is a relevant key to improving sports and arts performance. Yet, the bibliometric keyword analysis on Web of Science publications reveals that, when comparing to other biofeedback applications, the real-time biomechanical feedback application lags far behind in sports and arts practice. While real-time physiological and biochemical biofeedback have seen routine applications, the use of real-time biomechanical feedback in motor learning and training is still rare. On that account, the paper aims to extract the specific research areas, such as three-dimensional (3D) motion capture, anthropometry, biomechanical modeling, sensing technology, and artificial intelligent (AI)/deep learning, which could contribute to the development of the real-time biomechanical feedback system. The review summarizes the past and current state of biomechanical feedback studies in sports and arts performance; and, by integrating the results of the studies with the contemporary wearable technology, proposes a two-chain body model monitoring using six IMUs (inertial measurement unit) with deep learning technology. The framework can serve as a basis for a breakthrough in the development. The review indicates that the vital step in the development is to establish a massive data, which could be obtained by using the synchronized measurement of 3D motion capture and IMUs, and that should cover diverse sports and arts skills. As such, wearables powered by deep learning models trained by the massive and diverse datasets can supply a feasible, reliable, and practical biomechanical feedback for athletic and artistic training.

Overuse syndrome (OS) resulting from repetitive motion affects a significant percentage of performing musicians. Particularly susceptible to OS, violinists use different kinds of muscle control patterns in the right and left limbs and must assume a complex asymmetrical posture to hold and play the instrument. There is a clear need for developing efficient and effective strategies to prevent OS in violinists, keeping biological loads under physiological limits and focusing on physical economy during training. The first step in developing such strategies requires quantitative kinematic description of the motions involved in violin performance. This study supplies such information for the arms and violin bow. The motions of eight professional violinists and three advanced university music students were captured using a nine-camera VICON V8i motion capture system. Each performed a fundamental control skill employing all four strings of the violin. The data were analyzed using quantitative model comparison and statistical analysis. The results of this study show parameters such as elbow height normalized by body height and shoulder and elbow joint motion to have highly consistent patterns between the subjects. Wrist control patterns varied widely. Playing on different strings influences right arm patterns significantly, but not left. This is the first study providing quantitative 3-D kinematic data on shoulders, elbows, wrists, and bow. It provides a foundation for further exploration of the kinematic characteristics of violin performance, for the examination of the potential causes of OS, and for an evaluation of practices that might minimize injuries.