André Rennes

1 Executive summary

2 Timing & tempo — measured from the video

41.82 frames per second, so each time is accurate to about ±0.024 s. The backswing starts at about 1.75 s (frame 73), the top is at 3.08 s (frame 129), and impact is at about 3.30 s (frame 138).

Tour figure: John Novosel, Tour Tempo. One frame either way moves the ratio between ~5.6:1 and ~7:1.

What it means: The downswing (0.22 s) is quick, even a little faster than the Tour 0.27 s, which suits a driver. The backswing is the unusual part: 1.34 s is nearly twice the Tour figure and about 2.5 times his own earlier driver backswings (0.50–0.60 s). Part of it may be a slow start or a pause near the top, which the video alone can't split from the swing itself.

3 The reference frame — how this swing was measured

• Grid: each square is about 5 inches. It is scaled from his body size in the frame (his height was not given), so treat distances as ±1 inch. The camera stayed still: the background moved less than 1 px, so no correction was needed.
• Center lines (green): the vertical and horizontal lines cross at his belt buckle at address. They are fixed references for balance, sideways movement and height.
• Corner diagonals (green): they cross at the same point and give a fixed perspective scaffold for judging depth.
• Depth rays: no mat edges or alignment sticks are visible in this face-on clip, so there are no usable rays. Depth (toward or away from the camera) can't be separated from sideways motion.
• Address references: the white horizontal line is the cap line (head height). The dashed light-blue lines mark shoulder, belt (waist) and knee height at address. The dashed red and blue vertical lines mark the sides of the hips at address, so they show sideways sway. The red trail is the head path and the yellow trail is the hands' path.
• Tracking: body points were tracked automatically on 260 frames (0–6.3 s), then checked by hand at each key position. Turn angles are visual estimates (about ±10–15°). The ball could not be tracked in the video, so there is no start direction.

4 Swing sequence

Nine key positions, filmed roughly face-on from a distance, slightly from the trail side. The target is to the right of the frame and the backswing goes to the left.

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

5 Position-by-position biomechanics

Photo 1 — Address Address

• Reference frame set here: cap line, hip lines and the shoulder, belt and knee heights are all taken from this frame.
• Head and hips are the zero point for every distance below.

Photo 2 — Takeaway Takeaway

• Head stays at its height (0 in down) and hips barely move (~0.4 in).
• Hands are already ~4.3 in from their address spot, a smooth one-piece start.

Photo 3 — Lead arm parallel Lead arm parallel

• Head still level (~0.1 in), moving only ~0.1 in sideways.
• Hips ~1.1 in from the address line, so the base is still quiet.

Photo 4 — Top Top

• Shoulders turned about 85° and hips about 40°, an X-factor of ~45° (±10–15°).
• Hips are already ~4.2 in from the address line before the downswing starts; head ~0.4 in lower and ~1.1 in sideways.
• The backswing took 1.34 s to get here.

Photo 5 — Arm parallel (down) Arm parallel (down)

• Hands drop back to ~7.3 in from the address spot as the downswing begins.
• Hips add only ~0.6 in more, so the downswing is mostly turning, not sliding.

Photo 6 — Delivery Delivery

• Hands are closest to their address spot here (~3.8 in).
• Head ~0.4 in lower and ~2.0 in sideways: still quiet.

Photo 7 — Impact Impact

• Head ~0.5 in lower (ties his best) and ~2.2 in sideways. Hips ~0.8 in lower, which is fine.
• Hips are ~5.2 in from the address line (Fix), but they are about 35° open against shoulders at about 20°, a good order.
• Hands ~6.5 in from the address spot (Fix on the scorecard). Part of this is normal from a face-on view, as the arms swing past the body.

Photo 8 — Release Release

• Head holds at ~2.2 in sideways and ~0.3 in lower, so it stays behind the strike.
• Hands travel out toward the target (~11.9 in from address) as the arms extend.

Photo 9 — Finish Finish

• Tall and balanced, head ~1.3 in higher than at address, hips ~7.9 in toward the target, belt buckle facing the target.
• Held, as in his earlier driver reports.

Overlay — head at address, top and impact

Depth note: the camera is slightly on the trail side, so some of the "sideways" hip and head movement may be depth, and one angle can't split the two. That the hips are already ~4 in out at the top, with only ~1 in more through impact, makes this worth checking. A level, square-on clip from closer in would settle it.

6 One pattern, the whole bag

The link: the head dip is the big change. It went from ~5 in in the first driver report to ~0.5 in in the last three, and the longer, slower backswing came with it. The hip drift and the backswing tempo are the two things still moving the wrong way. His other clubs run 1.7–2:1, so the 6.2:1 driver tempo stands out in the logbook. With no ball data for this swing, whether the quieter head helps ball flight is still open.

7 Diagnosis

8 Next steps — keep it simple

9 Limitations & next capture

• One swing is a snapshot, and the figures match reports #3 and #4 exactly, so this is likely the same clip.
• There is no range screen in the video, so there is no ball speed, carry, spin or club speed; none of those are estimated here.
• The ball could not be tracked in the video, so there is no start direction.
• Distances come from a grid scaled to his body size in the frame; his real height would make the scale exact. Turn angles are visual estimates, about ±10–15°.
• The camera is slightly on the trail side, so depth mixes with sideways motion.

Next capture: to sharpen the reference frame: (1) a face-on clip at belt height, square to the target line, (2) the range screen after each shot, (3) the club sole to the camera for the club check, (4) 3–5 balls for an average, and (5) André's height, to lock the grid scale.