NECoach, although I am quickly recognizing the futility of discussing technique with you, I must add one observation to the isolated images of Hirscher you have posted with the suggestion that they clearly demonstrate what you call "foot containment" (a term that I am finding less and less meaningful the more you use it). It goes without saying that, in those images, Hirscher's feet are not nearly as far "in front" of him as in many other images we've seen--no question there, no dispute. And I would say that you are right that he is somewhere in the transition/float phase in those images.
However, it also appears that the turns he's making are not far from the fall line. In other words, he's heading pretty much down the hill in these transitions, not across it. As I've pointed out before--and which should be obvious if you give it a little thought--the more your skis point down the fall line, the more "forward" and "down the hill" align. So in transitions like these appear to be, moving your body "forward of your feet" by your definition (in the direction the skis point, with "foot containment") and "forward of your feet" by my
definition (down the hill), is pretty much the same thing.
This point may account for the reason that many racers, coaches, and instructors I've worked with tend not to finish their turns. They prefer to keep closer to the fall line, where their "hips forward" or "knees-to-skis" dogma actually works. They find widely-offset gates, or drills that require them to go across the hill more between turns, difficult, and they tend not to like them ("that's a terrible course...").
One of my favorite drills, that I find very revealing of technical deficiency and misunderstanding (or incomplete understanding) of what it means to "get forward," is what I call the "Horizontal S." Some people call it "ribbon candy," "puzzle pieces," or other descriptive terms. It involves completing linked turns actually past horizontal and back uphill a bit, such that you describe a sideways "S" across the hill in the transition, best done on a blue run for advanced skiers:
Among other things, this drill makes "forward" in the direction the skis point and "forward" down the hill very obviously different directions. Frankly, it exposes the limitations of making either definition your "dogma." It requires great accuracy and patience in the transition as well. You cannot, of course, just move your body immediately and quickly down the hill as your skis head up the hill. But moving your body "forward" along the skis and up the hill will kill the turn just as quickly, because no matter how much you move toward your skis to get "tip pressure," they aren't going to carve the very top of that turn (at least, on a hill with any pitch). To link turns successfully in this drill, you have to put dogmatic beliefs on the shelf and let your skis and the mountain dictate your movements. Pay attention, and they'll teach you a lot!
Other great drills that involve turns more across the fall line include the one I call "waterskiing" (for lack of a better name--suggestions wanted) because it is similar to crossing the wake faster and more and more abruptly behind a waterski boat: With a small group of skiers, the first one links smooth, round turns not too far across the fall line. Then each successive skier skis outside the tracks of the previous skier, with all skiers' lines crossing at the same "neutral" point (where the paths cross in the "X Move"), trying to keep the transitions clean without losing momentum.
Here are actual tracks from an early morning clinic after a dusting of new snow at Copper Mountain a couple years ago, using the track of a snowmobile as the "fall-line" reference:
Trying making those outside tracks (mine, by the way) without letting your feet move across and away from you (the opposite of "foot containment"?)--it will not work.
These exercises, along with the notorious "Pain in the S" and many others, are great dogma-killers. You cannot do them if you adhere consciously to any particular notion of "universal rightness" in technique--because every turn is different in dynamics, timing, intensity, and "touch." You must, as the Austrians are fond of saying, "let zee mountain teach you."