André Rennes

1 Executive summary

2 Ball flight — range screen

Metric	André · Oct 25 session	André #1 · Oct 6	André #3–#5 · Oct 25 (same swing)	LPGA Tour avg	PGA Tour avg
Ball speed	107 mph ★	103 mph	107 mph	109 mph	127 mph
Carry	146 yds ★	140 yds	146 yds	152 yds	183 yds
Flat carry	144 yds	—	144 yds	—	—
Total	150 yds ★	149 yds	150 yds	—	—
Launch angle	20°	23°	20°	17.1°	14.1°
Apex	81 ft (27 yds)	87 ft (29 yds)	81 ft (27 yds)	25 yds	30 yds
Landing angle	44°	46°	44°	46°	50°
Curve	17 ft (right)	11 ft	17 ft (right)	—	—
Hang time	5.6 s	5.7 s	5.6 s	—	—
Proximity	99 ft	53 ft	99 ft	—	—

★ = ties his personal best for this club (carry 146, total 150 and ball speed 107 mph were first set in report #3). Club speed isn't on the screen: at a typical iron smash of ~1.38–1.40, 107 mph of ball speed means about 76–78 mph of club speed. The curve direction rests on a small, blurred arrow, and some units on the screen were assumed (ft, yds, mph). The ball could not be tracked from the video: at 30 frames per second it is gone between two frames after impact, so there is no start-direction reading.

What it means: Ball speed is within 2 mph of the LPGA average, so strike quality is close to the benchmark. The launch is 3° higher than the LPGA's, and the ball landed slightly flatter (44° vs 46°) with a 2-yard-higher peak. Carry ends up 6 yards short of the LPGA average. Spin isn't on the screen, so the cause can't be pinned down. A slightly high launch with a little less ball speed is a pattern worth working on with a lower, handle-first delivery.

3 Timing & tempo — measured from the video

30 frames per second, so each time is accurate to about ±0.03 s. The backswing starts at about 8.30 s (frames 99–101 look nearly identical, so this is approximate), the top is at 8.90 s, and impact is at about 9.13 s.

Tour figure: John Novosel, Tour Tempo. At this frame rate, one frame either way on the downswing moves the ratio between ~2.3:1 and ~3.0:1.

What it means: The ratio sits in the good band (2.5–3.5:1) and is the best of his 6-iron reports. The backswing (0.60 s) is shorter than the Tour's 0.80 s and the downswing (0.23 s) is a touch quicker than 0.27 s. The shape of the rhythm is close to the Tour model, and much closer than the 1.7:1 of the 3-wood.

4 The reference frame — how this swing was measured

• Scale and grid: each square is about 5 inches (about 51 px at 10.23 px per inch). The grid is scaled from his body size in the frame, because his height wasn't given, so treat distances as ±1 inch.
• Center lines and diagonals: the vertical line runs through the center of his stance and the horizontal line along the ball line. The two corner-to-corner diagonals cross at his belt buckle at address and give a fixed perspective scaffold for depth.
• Depth rays: the mat edges and the target sticks, extended to the horizon. Anything moving along these rays is moving toward the target (into the picture), not sideways.
• Address references: the white line is the cap line (head height), with a back-of-head line beside it. The dashed waist line shows hip height, and the dashed light-blue lines show shoulder and knee height at address. The dashed red tush line is the back of the hips at address. The red trail is the head path and the yellow trail is the hands' path, frame by frame.
• Camera: it stayed still. The background moved a median of 0.2 px, so no correction was needed.
• Tracking and rotation: body points were tracked automatically on 210 frames, then checked by eye at each key position. Shoulder and hip turn are visual estimates, about ±10–15°. X-factor is shoulder turn minus hip turn at the top.

5 Swing sequence

Nine key positions, filmed down-the-line from behind the hands. The target is straight into the picture.

Photos are numbered in the order they happen in the swing. The frames follow the standard swing positions.

6 Position-by-position biomechanics

Club check

The clubhead sole was shown to the camera at 15.5–18.5 s. The badge reads 6 with an underline bar on the toe side, consistent across the clear frames (high confidence; the third crop is too blurred to read alone). The 146 carry and 150 total also match his 6-iron best exactly. Logged as the 6-Iron.

Photo 1 — Address Good

• Balanced iron posture: knees flexed, arms hanging, club resting on the mat behind the ball.
• This frame sets the references for the whole swing: cap line, back-of-head line, tush line, and the waist, shoulder and knee lines.

Photo 2 — Takeaway Head sinks early

• Hands, arms and club start together, and the hands are already about 9.7 in from their address spot.
• Head is about 4.7 in lower than at address and ~2.6 in toward the ball line (see depth note). Hips move ~1.8 in away from the ball and rise ~1.2 in.

Photo 3 — Lead arm parallel Good width

• Wide arc as the lead arm reaches parallel; the hands are about 23 in from their address spot.
• Hips stay ~1.9 in away from the ball, so the base isn't sliding in. Head stays ~4.7 in lower, ~3 in toward the ball line.

Photo 4 — Top Full turn

• Shoulders turn about 85° and hips about 40°, an X-factor of about 45° (±10–15°).
• Head recovers to about 2.2 in lower than address (from 4.7 in at the takeaway) and ~2.8 in toward the ball line. Hips ~1.7 in away from the ball, ~0.6 in up.

Photo 5 — Arm parallel (down) Head drops again

• Lower body leads the transition, and the yellow trail comes down inside the path it went up on.
• Head sinks again to about 4.1 in lower. Hips ~1.1 in away from the ball and almost level in height (0.1 in up).

Photo 6 — Delivery Solid

• Arms in front of the chest, hands already within about 4.5 in of their address spot.
• Head ~5.1 in lower and ~1.9 in toward the ball line. Hips hold ~0.9 in away from the ball.

Photo 7 — Impact Head dips

• Hands are back within 0.6 in of their address spot, and the rear of the hips stays on the tush line (about 0.5 in inside it). No early extension.
• Head is ~5.9 in lower than at address (Fix) and ~1.5 in toward the ball line (Good). Hips rise ~1.0 in (Watch).
• Shoulders are about 20° open and hips about 35° open: the hips have cleared ahead of the shoulders.

Photo 8 — Release Full extension

• Both arms extend toward the target and the chest keeps turning.
• Hips stay back (~1.9 in away from the ball). Head is the lowest of the swing here, ~6.8 in below address.

Photo 9 — Finish Excellent

• Tall and balanced on the lead leg, trail foot up on its toe, club wrapped over the lead shoulder.
• Head ends about 4.4 in above its address height. Held, as in every report.

Overlay — head at address, top and impact

Depth note: from behind, the head's 1.5–3 in shift toward the ball line sits partly along the depth rays, so it mixes real movement toward the ball with movement toward the target. One camera can't split the two. A face-on clip of the next swing will settle it.

7 Where the 6-iron sits in the bag

Heads-up: the 6-iron carried only 2 yards more than the 7-iron (146 vs 144), even with 3 mph more ball speed (107 vs 104), and its launch (20°) is only 2° lower. Total is just 3 yards more (150 vs 147). Between the 5-iron and 6-iron there is a 13-yard carry gap (159 vs 146) on only 1 mph of ball-speed difference. Those clubs were hit on a different day (Oct 2), so conditions may differ. The bag shows an uneven step between the 7-iron, 6-iron and 5-iron. A lower, handle-first 6-iron flight would help open the gap to the 7-iron.

8 Diagnosis

9 Next steps — keep it simple

10 Limitations & next capture

• One swing is a snapshot, and reports #3–#6 all read the same swing and screen. A new session is needed to see real progress.
• Spin and club speed aren't on the screen, so club speed is estimated and the launch discussion is inference.
• The ball couldn't be followed in the 30 fps video, so there is no start-direction reading. Slow motion (120 or 240 fps) would fix that.
• Distances come from a grid scaled to his body in the frame, since his height wasn't given. Rotation angles are visual estimates (±10–15°).
• From behind, depth (toward the target) mixes with sideways motion. That's exactly what the depth rays flag.

Next capture: (1) a fresh 6-iron session at the same down-the-line spot, (2) the same shots in slow motion (120 or 240 fps) so the ball start direction can be measured, (3) a face-on clip at chest height, (4) 3–5 balls for an average, and (5) André's height, to lock the grid scale.