inTraining

What every tool does,
and when to use it.

A full breakdown of Film Analysis's tools — what each one measures or does, exactly how to trigger it, and a coaching tip for getting the most out of it. Bookmark this page.

01 — Start here
Getting footage in
Two ways to get a clip into the analyzer. Both feed the same tracking engine — there's no difference in tracking quality between them.

Use Camera

Records straight from the device's rear camera and hands the recording directly to the tracking engine when you stop recording — no separate upload step.

How toTap Use Camera on the start screen, allow camera access if prompted, then tap the red record button to start and stop.

Requires a secure connection (HTTPS) to work — this is a browser security rule for camera access, not a bug. The live site is HTTPS, so this works there; it will silently disable itself if tested from a plain, non-secure link.

Coaching tipFrame the athlete so their full body stays in view for the whole rep — pose tracking loses accuracy fast on joints that leave the frame.

Upload a clip

Loads a video already saved on the device — MP4, MOV, or WEBM — for analysis.

How toTap the drop zone (or drag a file onto it on desktop) and choose a clip from your camera roll or files.
Coaching tipTrim long clips down to just the rep or moment you care about before uploading — shorter clips track faster and are easier to scrub through frame-by-frame.
02 — Runs automatically
Automatic tracking
The moment a clip loads, the app tracks the athlete's body and calculates joint angles on every single frame — no setup required.

Pose skeleton

A blue dot-and-line skeleton drawn over the athlete on every frame, marking the shoulders, elbows, wrists, hips, knees, and ankles the tracking model has detected.

Coaching tipIf the skeleton looks jittery or wrong on a joint, it's usually because that joint is briefly blocked from view (crossing arms, turning away) — the numbers for that joint will also look off in the same frames.

Joint angles

Ten angles calculated live, every frame, from the tracked skeleton — left and right shoulder, elbow, knee, hip, and footwork:

Exactly how each is measured Shoulder — angle at elbow–shoulder–hip
Elbow — angle at shoulder–elbow–wrist
Knee — angle at hip–knee–ankle
Hip — angle at shoulder–hip–knee
Footwork — lean of the knee–ankle line from true vertical (a stand-in for foot angle, since the tracking model doesn't detect toes)

All ten show live in the side panel. A dim, greyed-out number means that particular joint isn't confidently visible in the current frame — treat those numbers as unreliable until it brightens back up.

Coaching tipStep through frame-by-frame around the moment you care about (release point, landing, contact) rather than trusting numbers during fast motion blur — angles are most accurate on frames where the athlete is sharp and fully in frame.

Show/hide angle numbers NEW

Toggles the orange angle numbers that print directly on the video, at each joint, on or off.

How toTap the eye icon in the tool rail. This only hides the numbers on the footage — the side panel list keeps updating live either way, so you never lose the actual data.
Coaching tipTurn the on-video numbers off when you're screen-recording or showing an athlete the footage — a clean skeleton without a wall of numbers is often easier for them to actually watch and understand. Turn them back on when you want the precise reading at a specific joint.
03 — Your input
Drawing & annotating
Freehand tools for marking up the footage yourself — reference lines, direction arrows, and notes. All draggable after placing.

Reference lines

Straight lines you draw across the footage — for a shooting plane, a spine angle, an alignment guide, or anything else you want to measure against. Each one is automatically labeled with its own angle in degrees.

Two colors, two meanings Red — marked as a negative reference (something off, to correct)
Green — marked as a positive reference (good form, a target to repeat)

Every line you draw is also listed in the Reference lines panel with its angle, so you can compare multiple lines across frames or reps at a glance.

Coaching tipDraw a green line on a rep you consider a model, then a red line on the same joint in a rep you're correcting — the side-by-side angle numbers make the gap concrete instead of just "that looked off."

Direction arrows

Yellow arrows for showing intended movement, force direction, or where something should be heading — release trajectory, follow-through direction, weight transfer, and similar.

How toSelect the arrow tool from the rail, then drag on the footage from the arrow's start point to where it should point.
Coaching tipArrows read best paired with a reference line — the line marks where something is, the arrow marks where it should go.

Text notes

Freeform text you can drop anywhere on the footage and drag to reposition — coaching cues, reminders, or callouts tied to a specific spot on screen.

Every note is also listed in the Notes panel below the video, so a long list of cues stays readable even if the footage gets crowded.

Coaching tipKeep notes short — a two- or three-word cue ("elbow in", "land soft") is easier for an athlete to absorb from a shared clip than a full sentence.

Undo

Removes the single most recent line, arrow, or note — one step back at a time.

Coaching tipUndo only steps back once per tap, so it's safe to use liberally while you're still figuring out where a line should go.
04 — Reviewing the clip
Playback controls
Standard video controls, tuned for frame-level review rather than just watching once through.

Play / Pause, scrubber, frame step

Play and pause the clip, drag the scrubber to jump anywhere in it, or use the frame-step buttons to move one frame at a time — the most precise way to land exactly on the moment you're analyzing (a release point, a footplant, a point of contact).

Coaching tipPause first, then frame-step in small increments to find the exact frame you want — trying to pause mid-scrub on a fast rep almost always overshoots.
05 — Beyond the original clip
Capturing your own breakdown NEW
A separate way to create a highlight video — one built from how you review the clip, not just the clip itself.

Capture session

Starts a recording of your review session itself — scrub back and forth, replay a moment two or three times, pause on the important frame — and all of that becomes its own saved video, skeleton and annotations included.

How this differs from "Record clip"Record clip re-renders the original footage start to finish, once through. Capture session instead records whatever you actually do while reviewing — including replays and pauses — which is useful when the moment you want to emphasize needs a slow-motion callback rather than a single pass.
Coaching tipUse this for the one rep you want an athlete to really absorb — replay the key moment two or three times during capture so the exported video does the emphasizing for you.
06 — Getting it out
Exporting & sharing
Every export bakes in the skeleton, angles, lines, arrows, and notes exactly as you see them — nothing is left editable after export.

Snapshot

Saves the exact current frame as a single image — skeleton, angles, any lines/arrows/notes on screen, all baked in — with the inTraining watermark, at full video resolution.

Coaching tipBest for a single key moment you want to text or print — pause on the frame first so you're exporting exactly the instant you meant to.

Record clip (export video)

Re-renders the entire clip from start to finish with the skeleton, angles, and annotations burned in, and saves it as a video file (MP4 where supported, otherwise WEBM).

Coaching tipThis takes roughly as long as the clip itself to process, since it's re-rendering frame by frame — give it a moment on longer clips rather than backing out early.

Share

Sends a snapshot or exported video straight out through the device's native share sheet — Messages, Mail, Photos, or any app installed on the phone that accepts media.

If sharing isn't available on a given device or browser, this falls back to a plain download automatically.

Coaching tipOn iPhone specifically, Share is the most reliable way to get an exported clip into Photos — direct downloads of video files are inconsistent in mobile Safari, so this app steers you to Share for that reason.
07 — Starting fresh
Managing clips
One tool for clearing out and starting over.

Delete clip

Clears the current clip and every line, arrow, and note on it, and returns you to the start screen to load a new one.

Coaching tipNothing is saved automatically — export a snapshot or clip first if there's anything on screen you want to keep, since deleting is not reversible.