André Rennes

1 Executive summary

2 Ball flight — range screen

Metric	André · Oct 28	LPGA Tour avg	PGA Tour avg
Ball speed	92.2 mph	93 mph	109 mph
Club speed (est.)	~66-67 mph	72 mph	85 mph
Carry	116 yds ★	119 yds	148 yds
Flat carry	115 yds	—	—
Total	117 yds ★	—	—
Launch angle	27°	23.9°	20.4°
Apex	78 ft (26 yds)	26 yds	30 yds
Landing angle	47°	47°	51°
Spin	— (not on screen)	7,589 rpm	8,647 rpm
Curve	6 ft left	—	—
Hang time	5.2 s	—	—
Proximity	73 ft	—	—

On the screen the two target flags read 102 and 129 yds. The curve direction comes from the brighter left arrow on a low-contrast panel with heavy reflections, so it is a 6 ft draw with low confidence. Club speed and spin aren't on the screen: at a typical iron smash of ~1.38-1.40, 92.2 mph of ball speed means about 66-67 mph of club speed. The ★ marks are the first entries for this club.

What it means: ball speed is 1 mph under the LPGA average, and the apex (26 yds) and landing angle (47°) match it. Launch is about 3° higher than the LPGA average. The shot is nearly straight (6 ft of draw) and lands steeply with almost no roll (116 carry, 117 total). The 3 yards short of the LPGA carry (119) come from speed, so more speed through clean contact is the lever for this club.

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 32.63 s, the top is at 33.23 s and impact is at about 33.43 s.

Tour figure: John Novosel, Tour Tempo. There is no earlier 9-iron report to compare with. The downswing is only about 6 frames, so one frame either way moves the ratio between ~2.4:1 and ~3.8:1.

What it means: the ratio is right on the Tour Tempo 3:1. The whole swing is faster than Tour (about 0.80 s from takeaway to impact against ~1.07 s), and the quick downswing (0.20 s) is what the short backswing pairs with. The ratio is good and needs no change.

4 The reference frame — how this swing was measured

• Grid and scale: each square is about 5 inches (about 92 px). It is scaled from his body size in the frame because his height was not 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 through the ball line. The two corner-to-corner diagonals cross at the belt buckle at address and give a fixed perspective scaffold for depth.
• Depth rays: only one stick runs along the target line and the other lies across the mat, so there were not enough converging lines for a reliable vanishing point. The depth rays are the mat edges extended to the horizon: movement along them is toward the target, not sideways.
• Address references: the white line is the top of the cap (head height) and the dashed line at belt height is the waist. The dashed light-blue lines mark shoulder and knee height at address. The dashed red tush line is the back of the hips at address. At impact the rear of the hips was 0.2 in from it, so the hips stayed on the line.
• Trails and tracking: the red trail is the head path and the yellow trail is the hands' path. Body points were tracked automatically over 300 frames (about 25.5-35.5 s), then checked by eye at each key position. The camera stayed still: the background moved less than 0.3 px (median).
• Rotation and ball: shoulder and hip turn are visual estimates from the frames (about ±10-15°), not measurements. The ball could not be tracked at 30 fps because it is gone between two frames after impact, so ball speed comes only from the range screen.

5 Swing sequence

Nine key positions, filmed down-the-line from behind and slightly toward the hands side, with the camera at about hip height. 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

Photo 1 — Address Good

• Tall, athletic posture with knees flexed and arms hanging, hands just below the belt line and the clubhead behind the ball.
• This frame sets every reference: cap line, waist line and the tush line (back of the hips).

Photo 2 — Takeaway Head sinks

• One-piece start: hands, arms and club leave together, with the hands about 4 in from their address spot.
• The head is already about 5.2 in lower and ~2 in toward the ball. The dip starts in the very first move, while the hips stay quiet (~0.7 in away).

Photo 3 — Lead arm parallel Head low

• Hands about 14 in from address, with the lead arm parallel and the wrists setting.
• Head about 5.5 in lower than at address, and hips about 1 in away from the ball, so the base is not swaying.

Photo 4 — Top Good turn

• Shoulders turned about 85° and hips about 40°, so the X-factor is about 45° (visual estimates, ±10-15°). The back faces the camera.
• Head is about 3.8 in lower and ~3.1 in toward the ball. It rises a little from the lead-arm frame, which is a good sign.
• Hips ~0.8 in away from the ball and only 0.4 in up: they turn, they don't slide.

Photo 5 — Arm parallel (down) Good

• The downswing starts from the ground: hips ~0.3 in away from the ball and the hands are dropping toward the address spot, now about 21 in from it.
• Head about 4.5 in lower, so it has come up slightly from the delivery frames.

Photo 6 — Delivery Solid

• Hands within about 2 in of their address spot, arms in front of the chest and the club pointing near the ball.
• Hips ~0.3 in toward the ball but rising ~1.9 in, the first sign of standing up.

Photo 7 — Impact Watch the head and rise

• Head about 5.5 in lower than at address Fix and ~3.0 in toward the ball Watch.
• Hips stay back: ~0.1 in from address, and 0.2 in from the tush line Good. The hips rose ~1.9 in and the hands sit ~2.1 in from address Watch.
• Hips about 35° open, shoulders about 15° open: the lower body leads (±10-15°).

Photo 8 — Release Quiet head

• Head about 6.2 in lower and ~2.7 in toward the ball: it stays quiet through contact and doesn't pull up early.
• Hands about 12 in from the address spot as the arms swing through, with hips only ~0.8 in up.

Photo 9 — Finish Balanced

• Tall finish: head about 4.8 in above its address height, club wrapped over the lead shoulder and weight on the lead side.
• Reached about 0.9 s after impact, with no stumble.

Overlay — head at address, top and impact

Depth note: from behind, the head's ~3 in shift toward the ball sits partly along the depth rays, so it mixes "toward the ball" and "toward the target", and one camera can't split the two. A face-on clip of the next swing will settle it (see Limitations).

7 Where the 9-iron sits in the bag

Heads-up: the 9-iron carried only 3 yards more than the pitching wedge (116 vs 113) with 3 mph more ball speed, so the two are close to the same shot. The step up to the 7-iron is big: 28 yards of carry and 12 mph. A typical one-club step is roughly 8-12 yards. The 8-iron has no report yet and sits in that gap. One more session each for the PW and 9-iron will show whether the small gap is a trend.

8 Diagnosis

9 Next steps — keep it simple

10 Limitations & next capture

• One swing is a snapshot. The ball readout matches this swing, as it is the screen shown right after it.
• The club could not be identified from the video (low confidence on the sole). It is logged as the 9-Iron and the range numbers fit.
• Spin and club speed aren't on the screen, so club speed is estimated (~66-67 mph) from ball speed.
• Distances come from a grid scaled to his body in the frame, and rotation angles are visual estimates. His real height would make the scale exact.
• The ball could not be tracked at 30 fps, and from behind depth mixes with sideways motion.

Next capture: (1) the same down-the-line spot filmed in slow motion (120 or 240 fps), (2) a face-on clip at chest height, square to the feet stick, (3) the clubhead sole shown to the camera for 2 seconds, (4) 3-5 balls for an average, and (5) André's height, to lock the grid scale.