READING THE PAINT

Basketball is a chaotic game. Very rarely are two passes or finishes exactly alike. It is up to the individual player player to formulate a "plan" in the paint.

TYPES OF FINISHES

ONE-FOOT 
One foot finishes can be executed in a variety of ways.They can be "traditional" (inside foot, outside hand) "inside hand" (outside foot, inside hand) "goofy" (right foot, right hand) or a reverse on the opposite side of the basket.Tempo creates variety within each of these finishes. For a fast finish, the player will accelerate with the step prior to takeoff. For a controlled finish, the player will take a "sticky step" prior to takeoff.  
  1. One-Foot Fast 
  2. One-Foot Controlled
TWO-FOOT
Two foot finishes are always initiated by a two foot jump stop. They can be a "pro-hop" (immediately explode to basket) or variations of a "jump stop" (shot fake, forward pivot, reverse pivot.) Once again, the tempo will create variety within each of these finishes.  For a fast finish, the player will want to explode off of both feet towards the rim. For a controlled finish, the player will want to land on two foot and shot fake or pivot to find an angle.
  1. Two-Foot Fast
  2. Two-Foot Controlled 
TYPES OF PASSES
ONE-HANDED 
One handed passes can either be a chest pass, a hook pass or a scoop pass. Generally speaking, a chest pass will be to the strong side of the floor, a hook pass will be to the weak side and a scoop pass will be to a player under the basket. One handed passes can be from the ground, or off a jump. For a grounded one hand pass, the player will want to transition the ball from the floor and into the pass efficiently. For a jump pass, the player will want to secure the ball with two hands on his way into the air, before passing with one hand. 
  1. One-Hand Grounded
  2. One-Hand Jump 
TWO-HANDED
Two hand passes can either be a chest pass or an overhead pass. Generally speaking, a chest pass will be to the strong side of the floor and an overhead pass will be to the weak side. Two handed passes can be from the ground, or off a jump. A grounded two hand pass, will allow for the most ball fake possibilities. A jump pass will limit the players options, and thus the player should already have a target in mind. 
  1. Two-Foot Fast
  2. Two-Foot Controlled 
READING THE PAINT
It is important to understand the rules relative to these three positions. When the help defender is in front of the circle, he can take a charge. When the help defender is in the circle, he must jump straight up. An automatic foul is called if a player in the circle does not jump, jumps and brings his arms down or jumps from point A and lands at Point B. 

OUT OF CIRCLE
With the help defender out of the circle, the offensive player is free to attack their primary defender. There are two types of advantages that can be gained on a primary defender. A "one-step advantage" and a "shoulder-chest advantage." With a one-step advantage, the offensive player will want to finish fast, so that the help defense can not catch up. With a shoulder-chest advantage, the offensive player will want to finish under control, as to not give up the advantage. 

ONE-STEP ADVANTAGE
In a one-step advantage, the offensive player is one step ahead of the defensive player. Since they are one step ahead of their defender, they will want to use a fast finish, before the defense can rotate over to them. A common mistake is that players chop their feet once they gain the advantage. This allows the help defender to catch up. Instead, develop the ability to jump off either foot and finish with either hand.

SHOULDER-CHEST ADVANTAGE
In a shoulder-chest advantage, the offensive players shoulder is in the defenders chest and the defender is no longer square, relative to the rim. The offensive player should maintain the shoulder-chest advantage and use a controlled finish. A common mistake is that players try to outrun a shoulder-chest advantage, continuing to gain speed as they get closer to the rim. It is better to keep the shoulder into the defenders chest, so that you can keep control of yours and the defenders body. 
  1. One-Step Advantage on Primary Defender
  2. Shoulder-Chest Advantage on Primary Defender
FRONT OF CIRCLE
When the secondary defender is in front of the circle, the offensive player needs to SLOW DOWN. The defender in front of the circle is a threat to take a charge if any of the offensive players momentum flows into him. The player will need to execute a controlled finish, so that they can create an angle to pass or to finish. 
  1. Slowing down when the secondary defender is in front of the circle 
IN THE CIRCLE 
When the secondary defender is in the circle, the offensive player will need to develop a game plan based on his skill set. A smaller, pass-first player, could hesitate and Nash dribble around the secondary defender. A bigger, but not as athletic player, could use a jump pass or an evasive maneuver. An athletic player could jump directly into the defenders body and attempt to draw the foul or finish. A stronger player could jump stop and ground the help defender, using pivots and shot fakes to find an angle. 
  1. Nash Dribble around the secondary defender in the circle 
  2. Jump Passes around the secondary defender in the circle 
  3. Pro Hop into the secondary defender in the circle 
  4. Jump Stop into the secondary defender in the circle 
MORE EXAMPLES
  1. Dallas Mavericks 
  2. Utah Jazz
  3. Northwest Missouri State
  4. Colorado Mesa 

the paint read post best one

GUIDELINES

Getting your hand behind the ball relative to your target.
This is the number one issue that players have. Just like shooting a pool ball, the pool stick has to be behind the cue ball, relative to the target. A lot of players will try to shoot from the underside of the ball. They do this because they overtrained a traditional layup when they were young, and got use to scooping the ball from the underside. In college, when most of your paint shots will be 2-5 feet from the rim, touch needs to be developed, and that requires shooting the ball from behind, not underneath or the the sides. 

Converting Horizontal movement to Vertical movement
It is common to see NBA players finish their paint shots by landing inbounds, while it is also common to see college players finish their paint shots by landing out of bounds. Whats the difference? The pros are better at deacelerating into their finish so they can finish vertically, instead of horizantaly towards the rim. This requires an ability to have a sticky step in your finish, that slows you down prior to takeoff

Eliminating Torque 
Many times, players will shoot the ball against their own momentum. Put more specifically, their lower body will be moving one way and their upper body will be twisiting the other. "Torque." This happens most often when players cross the midline of the floor and try to finish on the other side. Players need to learn how to eliminate tourque.

Not finishing with 2 feet when their is contact
If the player has a step on their defender, they should finish fast, before contact can slow them down. However, most finishes will occur with contact from the primary or secondary defender. Players should finish with two feet in this situations to maintain balance, eliminate tourque and gain vertical momentum. 

Picking up the ball after one dribble 
In a live game, it is extremely rare to finish from the three point line after one dribble. Players need to get used to taking two dribbles to get to the rim. The player that picks it up after one is left taking long strides that lead to off balanced shots. Additionally, if they can skip a step after the second dribble they can find an extra step that will help them have more options in the paint. 

READS


The attacking offensive player must attack the paint with "eyes up" and the ability to read the help defenders. Remember, the golden rule of paint reads. If there is a player in front of the circle, you better pass it, if there is a player out of the circle, you better rack it, if there is a player in the circle, its your call, 50/50.

FRONT OF CIRCLE
When the secondary defender is in front of the circle, the player needs to SLOW DOWN. The defender in front of the circle is a threat to take a charge if any of the offensive players momentum flows into him. The player will need to execute a jump stop here, so that they can create an angle to pass, or possibly pivot his way into a shot. Low percentage options here are the floater and the euro step. Some players excel at these shots, however it is rare. 

OUT OF CIRCLE
When the secondary defender is out of the circle, the offensive player is free to score on his own man. If he does not anticipate contact from his primary defender, he will want to finish fast, off of one foot, without chopping his feet. If he does anticipate contact, he will want to finish off of two. 

IN THE CIRCLE 
When the secondary defender is in the circle, it is up to the individual offensive player to develop a gameplan based on his skillset. A smaller, pass-first player, could hesitate and nash dribble around the secondary defender. A bigger, but not as athletic player, could use a jump pass or an evasive maneuver. An athletic player could jump directly into the defenders body and attempt to draw the foul or finish. A stronger player could jump stop and ground the help defender, using pivots and shot fakes to find an angle. However the player gets the job done, the defender is in a disadvantage situation. He would prefer to be in front of the circle to wall up and take the charge. In the circle he has to jump straight up, and he is very close to the rim. 

VIDEO EXAMPLES

  1. Dallas Mavericks
  2. Utah Jazz

ONE FOOT FINISHING SERIES 
There are two types of finishes in the paint. The one foot finish and the two foot finish. The game could demand a fast finish, or a controlled finish. It is up to the players to develop a feel for what works for them in any given situation.

TRADITIONAL 
For a fast finish, you want the step before your takeoff step to accelerate you to the rim. For a controlled finish, you want the step before your takeoff to "stick" to the ground, slowing your pace. 

INSIDE HAND 
For a fast finish, you want to land on both feet and immediately attack the rim. For a controlled finish, you want to utilize shot fakes and pivots to find an angle to the rim or for a pass. 

REVERSE 

For a fast finish, you want to land on both feet and immediately attack the rim. For a controlled finish, you want to utilize shot fakes and pivots to find an angle to the rim or for a pass. 

GOOFY

For a fast finish, you want to land on both feet and immediately attack the rim. For a controlled finish, you want to utilize shot fakes and pivots to find an angle to the rim or for a pass. 

VIDEO EXAMPLES
  1. Traditional 
  2. Inside Hand 
  3. Reverse
  4. Goofy
TWO FOOT FINISHING SERIES 
There are two types of finishes in the paint. The one foot finish and the two foot finish. The game could demand a fast finish, or a controlled finish. It is up to the players to develop a feel for what works for them in any given situation.

PRO HOP
For a fast finish, you want the step before your takeoff step to accelerate you to the rim. For a controlled finish, you want the step before your takeoff to "stick" to the ground, slowing your pace. 

JUMP STOP SHOT FAKE 
For a fast finish, you want to land on both feet and immediately attack the rim. For a controlled finish, you want to utilize shot fakes and pivots to find an angle to the rim or for a pass. 

JUMP STOP FORWARD PIVOT 

For a fast finish, you want to land on both feet and immediately attack the rim. For a controlled finish, you want to utilize shot fakes and pivots to find an angle to the rim or for a pass. 

JUMP STOP REVERSE PIVOT 

For a fast finish, you want to land on both feet and immediately attack the rim. For a controlled finish, you want to utilize shot fakes and pivots to find an angle to the rim or for a pass. 

VIDEO EXAMPLES
  1. Pro Hop
  2. Jump Stop
  3. Forward Pivot
  4. Reverse Pivot 
DRAG STOP FINISHING SERIES 
There are two types of finishes in the paint. The one foot finish and the two foot finish. The game could demand a fast finish, or a controlled finish. It is up to the players to develop a feel for what works for them in any given situation.

PRO HOP
For a fast finish, you want the step before your takeoff step to accelerate you to the rim. For a controlled finish, you want the step before your takeoff to "stick" to the ground, slowing your pace. 

JUMP STOP SHOT FAKE 
For a fast finish, you want to land on both feet and immediately attack the rim. For a controlled finish, you want to utilize shot fakes and pivots to find an angle to the rim or for a pass. 

JUMP STOP FORWARD PIVOT 

For a fast finish, you want to land on both feet and immediately attack the rim. For a controlled finish, you want to utilize shot fakes and pivots to find an angle to the rim or for a pass. 

JUMP STOP REVERSE PIVOT 

For a fast finish, you want to land on both feet and immediately attack the rim. For a controlled finish, you want to utilize shot fakes and pivots to find an angle to the rim or for a pass. 

VIDEO EXAMPLES
  1. Pro Hop
  2. Jump Stop
  3. Forward Pivot
  4. Reverse Pivot 

STICKY STEP FINISHING SERIES 
There are two types of finishes in the paint. The one foot finish and the two foot finish. The game could demand a fast finish, or a controlled finish. It is up to the players to develop a feel for what works for them in any given situation.

PRO HOP
For a fast finish, you want the step before your takeoff step to accelerate you to the rim. For a controlled finish, you want the step before your takeoff to "stick" to the ground, slowing your pace. 

JUMP STOP SHOT FAKE 
For a fast finish, you want to land on both feet and immediately attack the rim. For a controlled finish, you want to utilize shot fakes and pivots to find an angle to the rim or for a pass. 

JUMP STOP FORWARD PIVOT 

For a fast finish, you want to land on both feet and immediately attack the rim. For a controlled finish, you want to utilize shot fakes and pivots to find an angle to the rim or for a pass. 

JUMP STOP REVERSE PIVOT 

For a fast finish, you want to land on both feet and immediately attack the rim. For a controlled finish, you want to utilize shot fakes and pivots to find an angle to the rim or for a pass. 

VIDEO EXAMPLES
  1. Pro Hop
  2. Jump Stop
  3. Forward Pivot
  4. Reverse Pivot 

FLOW: DOUBLE BALLSCREEN OPTION


FLOW: WEDGE ACTION


FLOW: PITCH ACTION


FLOW: 1/4 MIDDLE BALLSCREEN


FLOW OFFENSE

ENTRIES

Starting four around one, the initiator has three options. If the pass is available to the wing, he will take it and cut to the opposite corner. If the wing pass is being denied, he will dribble at the two and receive a screen from 4. If neither option is available, he can always receive a drag from 4. 

ACTIONS
1ST ACTION
The first action is a 2 man game with the 4 and the 2. The action can be a pick and roll, pick and pop, slop, loop or chase. The pick and roll and pick and pop are best against any defense besides the switch. The slop, loop and chase are best against the switch. 

2ND ACTION

If the ball gets reversed, 3 and 1 initiate the second action. The 3 has two options. He can pass to the wing and cut to the opposite corner, initiating a side ball screen; or he can DHO with 1, initiating a slot ball screen. A side ball screen will work against any coverage, but is best for drop, flat hedge or under coverage's. A slot ball screen will work against any coverage, but it is best for the switch, hedge, trap and ice. With pick and pop 5's, DHO into a step up. 


A side ballscreen always results in a screen and roll. A slot ballscreen has three options. A pick and roll, a flip, or a slip. A "flip" is signaled by a hang loose sign. A "slip" is signaled by a zipper sign. 


*Checks: We need to get a good screen on the second action. If the defense slides under, or we do not get a good screen, we "check," which means to rescreen the other way. We do not "check" on first actions. 

When playing a pick and pop 5 the second action will always be a pick and pop. The weakside must 45 cut to the dunker spot. 


3RD ACTION If an advantage was gained in the 2nd action, we flow into our mixer drive and kick continuity. To keep the advantage going, we sustain zero second decision making.


If NO advantage was gained in the 2nd action, we flow into our mixer pass and cut continuity. From this movement, we can look to attack driving gaps or to create advantages with loops and post ups.  




VIDEOS
1. Mixer Ball Movement 

SMALL ADVANTAGE BIG ADVANTAGE


WHEEL OF WINNING

The wheel of winning is our D.N.A as a program. Like spokes on a wheel, each component is dependent on the others. If there is a breakdown in one, it will affect our team as a whole. Winning requires commitment, focus and execution to all of the elements in the wheel.

STANDARDS OF ATTITUDES AND ACTIONS

We hold each other daily to our standards of attitudes and actions. We bring these with us to every function that we perform as a team. If we were construction workers, our standards of attitudes and actions would be our lunch pail.

VARIABLES

The variables are actively measured and monitored by our staff.. We understand that we cannot achieve perfection in any of these areas, however we believe with specific focus in these areas we can improve game to game and week to week

FG%
Our offense gets the ball to the paint and reads how the defense reacts from there. If there is no help in the circle, we look to finish. If there is help in front of the circle, we jump stop and look for the open man. If there is a defender in the circle we play to our strengths, either finishing with power, hitting the floater or passing to a teammate. 


This focus on getting the ball to the paint produces the shots that we want. Shots in the paint and inside out threes. On every possession we are a threat to score a layup, whether it be a rim run, a cut or dribble penetration.

Conversely, our defense keeps the ball out of the paint. On help one pass away, we do not let the offensive player “split” our gap help. On help at the rim, we meet the ball with two feet outside of the circle. We “x-out” on the perimeter in order to get whole. 


This focus on keeping the ball out of the paint reduces the amount of un-contested layups and inside-out threes that our opponent will attempt. They will be limited to tough 2’s and non-inside out threes.

We believe strongly in the analytical data supporting inside out threes as > than non-inside out threes. 

  1. Get the ball to the paint on offense
    1. No help = rack it!
    2. Help in front of circle = jump stop and read the floor 
    3. Help inside the circle = play to your strengths 
  2. Keep the ball out of the paint on defense
    1. "no splits" = show gap help
    2. help rotation = two feet outside the circle (playing goalie)
    3. X out rotation = work to get whole
AST/TO
Not only does the assist represent our unselfish play it is highly correlated with championship level play. To create assist opportunities we seek to “turn small advantages into big advantages.” This requires a commitment to setting screens with “optimal angles, timing and reads” and “zero second decision making” when the advantage is gained. On each possession we will have “consistent and crisp ball and player circulation.”

Turnovers are a value proposition. We will turn the ball over, but we want to turn it over in an attempt to score the basketball. Low value turnovers happen in the back court, on the perimeter and in routine passing situations. High value turnovers happen when trying to feed a player by the basket, attempting to get in the paint and in an advantage situation.

To prevent low value turnovers, we “protect our real estate” forming a “wide radius” with our pivot, ripping across our shoelaces and protecting the basketball. We play "slow and low" under pressure and in tight spaces. We show our hands, pass to hands, and meet the catch on a jump stop and without traveling 

  1. Small Advantage / Big Advantage
  2. Screen with optimal angles and timing 
  3. Zero second decision making
  4. "Protect our real estate" and "play slow and low"
FTA’S / FOULS 
We understand that we must get to the free throw line more than our opponent. We do this offensively by playing inside out, looking to get the ball into the paint every possession. We do this defensively by playing with our lower half, moving our feet and keeping our chest in front of the ball

This also includes a thorough understanding of the rules of the game. We teach the rules in a fun "jeopardy" format. Our players must understand the rules of the game. 

  1. “Guard your yard” move your feet and keep your chest in front of the ball. “Chest and contest” all shots at the rim.
  2. Understand the rules of the game
  3. Understand what we can and cannot control as it pertains to officiating. Make adjustments when necessary
EVALUATION METRICS
To evaluate our variables we utilize the following formulas
  1. Value Point System (individual) 
  2. Conference Stats (team)

CONSTANTS

The constants are the things that our team must do constantly, from the first day of practice to the last game of the season. Taking great shots, running the floor and rebounding simply require focus and effort. We CAN NOT be a successful team without the foundation of our constants. 


TAKE GREAT SHOTS
Paramount to our success is to sacrifice good shots for great shots. We define great shots as uncontested layups, advantage shots at the rim and inside-out threes. In the first half of the shot clock, we shoot these shots exclusively. In the second half of the shot clock, we will accept mid-range shots, floaters and off the dribble three point shots. 

  1. Uncontested layup
  2. 1v1 Advantage Shot in Paint
  3. Inside Out Threes
REBOUND
Basketball is synonymous with “rebound-ball.” If we shoot 50% from the field, each rebound we get gives us an extra opportunity to score while taking away one from our opponent. Thus, a rebound is essentially worth 1 point. On defensive rebounds, we box out and “gang rebound.” We secure the ball with two hands and “total release.” On offensive rebounds, we send 1-3 players to the glass, depending upon our personnel. We “wedge” “swim-move” or “nail-hunt” for extra opportunities.
  1. Defensively, box out and “gang rebound”
  2. Offensively, “wedge” “swim-move” or “nail-hunt” for extra opportunities
  3. Always secure the ball with two hands and “total release”
RUN THE FLOOR 
We win the first three steps and run the floor on both ends. Offensively, we fill the lanes wide and are a threat to score from the first second to the last. Defensively, we sprint back and show our chests, stop the ball, form a wall and match up with “early loud and continuous talk.”

  1. Win the first 3 steps and transition quickly
  2. Fill the lanes wide, threat to score from the first second to the last
  3. Sprint back, show your chest, stop the ball, form a wall and match up with “early, loud, continuous talk!"

PROCESS

We sustain a process oriented approach. We enjoy the “journey” over the “destination.” Our focus will be on our ability to prepare better, perform better and reflect better. We will evolve as a program, learning and adjusting as we go, through the commitment to our process.

TEAM SPIRIT

"PLAY HARD, PLAY TOGETHER, PLAY TO W.I.N"


At the surface level, our team mantra means exactly what it says. Play as hard as you can, play in "concert" with each other and focus on what can be done NOW, in order to win. 

On a deeper level, it represents all of the things that make up our program. And it starts with our aim "to pursue excellence in all of our commitments." We do this by...

EMBRACING COMPETITION AS A MEANS FOR GROWTH
This involves shifting our mindset away from competition as a zero-sum game and towards a collaborative effort with our opponent; placing an emphasis on task orientation over ego orientation; expressing ourselves on the court as a unified team with a collective competitive spirit.

TASK ORIENTATION

  1. The focus is on mastering the task at hand
  2. Success is relative to how well you can do, independent of anybody else
  3. “Defeat the enemy within” the battle between you and you > the battle between you and the opponent
EGO ORIENTATION
  1. The focus is on showing that you are superior to others
  2. Success is relative to how well you did, dependent on everybody else
  3. “Reveal and conceal” If I can win, I will go for it. If I can't, I won't try very hard”
TYPES OF PLAYERS
  1. High Ability + Task Orientation: Will accept difficult goals and challenges without fear of outcome
  2. Low Ability + Task Orientation: Will accept low to moderate challenges without fear of outcome
  3. High Ability + Ego Orientation :Will only accept challenges they think they can win
  4. Low Ability + Ego Orientation: Will only accept extraordinarily difficult tasks, or super easy ones


COMPETITION IN TRAINING

  1. Competition is King! (ego)
    1. Offense and a Defense as much as possible
    2. Winner and a loser 
    3. Players must know where they stand 
  2. Feedback is Key (task)
    1. Positive reinforcement
      1. Reinforce what we want them to do > what not to do 
      2. Emphasize effort, persistence and growth 
      3. Focus on BEING great (what you can control now) over DOING great (which is based on a future outcome) 

BUILDING A COMMUNITY THROUGH TRUSTING RELATIONSHIPS

We build a community through trusting relationships. The first step is the “blind trust” that each member of our program must give to himself, his teammates and our system. The second step is the reciprocal relationship that must occur between the player and the team. The third step is to put trust into action, but expressing it within our rituals, norms, values and relationships. 

The player must trust ...



  1. Himself
  2. His Team
  3. Our System
The team trusts the player when…
  1. He puts “we” in front of “me”
  2. Sacrifices for the greater good
  3. Lives our standards of attitudes and actions
The player trusts the team when…
  1. He is physically and emotionally safe
  2. Shown that he belongs
  3. Given opportunities to grow and contribute
  4. Has freedom to express his opinions
Trust in Action
  1. Talk straight
  2. Demonstrate Respect
  3. Create Transparency
  4. Right Wrongs
  5. Show Loyalty 
  6. Deliver Results 
  7. Get Better
  8. Confront Reality 
  9. Clarify Expectations
  10. Practice Accountability 
  11. Listen First 
  12. Keep Commitments 
  13. Extend Trust 
SUSTAINING A PROCESS ORIENTED APPROACH
We sustain a process oriented approach. We enjoy the “journey” over the “destination.” Our focus will be on our ability to prepare better, perform better and reflect better. We will evolve as a program, learning and adjusting as we go, through the commitment to our process.


PREPARATION
  1. Discipline
    1. You either have discipline or you need to be disciplined (choose to BE disciplined)
      1. Internal Discipline = Freedom
      2. External Discipline = Cracks under Pressure
    2. Have a plan, stick to it and adjust as you go
      1. Create SMART goals
      2. Follow through with the process of achieving your goals (trusting self)
      3. Identify roadblocks and design ways to get around them
      4. Adjust and evolve your process as you go
    3. Embrace the repetitive tasks that make you great
      1. Stick to core fundamentals over and over and over...
  2. Confidence
    1. Shaky confidence is based on feelings 
    2. Stable confidence is based on your process
    3. Supreme confidence is when you KNOW your process produces results 
PERFORMANCE
  1. Self-1 is your conscious mind; words and thoughts involving the past and future 
  2. Self-2 is your unconscious mind; a powerful network of muscle memory activated for the present moment
  3. Learn to trust Self-2 
REFLECTION
  1. Failure is Feedback
  2. Victory is Validation
  3. Triple A's of Feedback:
    1. Aware of what is truth
    2. Acceptance of what you need to change
    3. Application of discoveries back into training
MORE LINKS
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COMMUNITY

We build a community through trusting relationships. The first step is the “blind trust” that each member of our program must give to himself, his teammates and our system. The second step is the reciprocal relationship that must occur between the player and the team. The third step is to put trust into action, but expressing it within our rituals, norms, values and relationships.