One pattern, head to toe
hArry, here’s your whole strategy in one sentence. Your pelvis tips forward, your ribs flare back to keep your eyes level, and your low back picks up the balancing your hips stopped doing. Your right side holds you up. All day, every day, for years.
None of that is damage. That is a body solving the problem you handed it, a rowing shell and a chair, and solving it well enough that it kept working for years, which is the part people skip past when they call a posture bad. It carried on working right up until the day it started costing you something.
Your scan tells me the same thing four different ways. Both hips won’t open behind you, right worse than left. Your hamstrings test long and cranky, because they never actually get a rest. Your right foot rides its outside edge doing the grounding for two while the left quietly rolls in. And when you walk, you hold your breath.
That last one sounds like the smallest item on the list, and it is closer to the root than anything else here, because breath is the pressure system the rest of your posture is built on, so when it goes missing, everything above it starts improvising.
So we’re not going to stretch what feels tight. Tight is a symptom here, and chasing it just annoys the muscle that’s been holding you together. We’re giving you back the options you lost instead. That starts on the floor, where nothing has to be defended, and the crew that’s been working doubles finally gets to stand down.
Side views: the tell of the whole pattern, the belt line tips down at the front, the ribs sit lifted and flared, and the knees hang back locked to hold the arrangement together. The right side shows it more than the left.
Back: the right glute fold sits higher, the spine drifts gently right of the plumb line, and the left heel leans inward while the right stays tall and turned out.
standing single-leg raise, both sides
Grounding test: on the right leg you look bolted down, 7 out of 10, quiet hips, steady head. On the left the whole system negotiates: the arch collapses, the hip wobbles, the toes claw, 3 out of 10. That gap is your lateralization measured live, meaning the habit of living over one leg rather than sharing the work, and closing it is half of what this program is for.
| Test | Left | Right | Read |
|---|---|---|---|
| Shoulder internal rotation | 62° | 55° | Full enough |
| Shoulder external rotation | 45° | 40° | Limited both sides |
| Shoulder abduction | 38° | 32° | Limited |
| Shoulder flexion | 150° | 140° | Workable |
| Pelvic / trunk rotation | 70° | 45° | Right restricted |
| Hip abduction | 30° | 25° | Right limited |
| Straight-leg raise (passive) | 45° | 40° | Below the 50° gate |
| Hip extension (passive) | −10° | −12° | Priority |
| Femoral internal rotation | 40° | 35° | IR > ER, pattern-typical |
| Femoral external rotation | 25° | 20° | Limited both sides |
| Calcaneal position | Everted | Inverted | Left rolls in, right rides out |
| Grounding performance | 3 / 10 | 7 / 10 | Right grounds for two |
The camera reads skin temperature, and skin temperature tracks workload. Hot means a muscle that never clocks out. Cool means one that stopped getting the message. Yours lines up with your pattern almost stripe for stripe.
Standing still, a body can hold itself together long enough to look even, and walking gives it nowhere to hide. Use the frame controls under each clip and you’ll see everything the scan measured, playing out once per stride.
added after your session
added after your session
The numbers behind all thisFive charts from your walking clips. Open if you want to see the measurements, skip it if you would rather just do the work.
These are the three numbers worth carrying away from your walking clips. Everything else on the other tabs is the working behind them.
Hip extension is how far your thigh travels behind you at the moment you push off the ground. It is the single movement your whole pattern is short of, and on your right side the thigh never quite reaches straight before the foot leaves the floor.
The middle number is the gap between your two hips across a complete step. Nine degrees does not sound like much until you count the steps, and you take somewhere around five thousand of them a day.
Braking is the speed your calf has to work against as your weight rolls forward over a planted foot. A higher number there means the muscle is doing more work, not better work, and your right calf is covering for an ankle that will not bend far enough.
How to read it. The chart follows one complete step, from the moment your heel lands to the moment that same heel lands again. Left to right is time. Up and down is the angle of your thigh. Higher on the chart means the thigh is further behind you.
The blue line is your left side and the yellow is your right. The pale shading around each line is how much your individual steps varied, so a narrow band means you walk that side very consistently. The red dashed line is the thigh hanging straight down. The green band is where a hip with nothing holding it back would spend the push-off.
What yours says. Both lines stop short of the green band, and the yellow right side stops shortest. Your thigh is not travelling behind you, so the movement has to be found somewhere, and it gets found in your lower back arching a little further with every step.
How to read it. Same step, same left-to-right timing. This time the line is the angle of your knee, and lower on the chart means the knee is more bent.
There are two dips. The first, early on, is the small bend your knee makes as your weight lands on it, which is how the leg absorbs the ground the way a car suspension absorbs a pothole. The second and deeper dip is the knee folding to lift the foot clear while the leg swings through.
What yours says. Your right knee barely makes the first dip, nine degrees against sixteen on the left. A knee that does not bend on landing has not cancelled the impact, it has passed it upstairs, and upstairs is your hip and your lower back. The swing dip is close to even between sides, which tells us this is about how you accept load rather than about knee stiffness in general.
How to read it. Same step again. Here the line is the angle of your ankle. Above the red dashed line your toes are pulled up toward your shin, below it they are pointed away.
Toes-up range is what lets your body travel forward over a foot that is already flat on the ground. Without enough of it, you either cut the step short or find the movement somewhere else.
What yours says. Your right ankle peaks at five degrees where twelve would be ordinary, so it never reaches the green band. That is the same rigid, high-arched right foot the photographs show, seen from a different angle. The calf on that side then works harder to control a movement the joint is not giving it, which is where the braking number on the first tab comes from.
How to read it. Each row is one measurement with your two sides side by side. The dimmer bar in each pair is whichever side is doing better on that row.
What yours says. Five of the six rows favour your left. The exception is calf braking speed, and that one is not good news for your right side, because a higher number there means the muscle is working harder to control the same movement.
Read as a group, this is one pattern rather than six separate problems. Your right side has taken on the standing, the balancing and the braking, and the measurements that look worst are all the ones that ask the right side to give something up rather than hold on to it.