COACHING POINTS
A great screener is the most valuable skillset an offense can have. The screener is the straw that stirs the drink! On some nights, a great screener will get his, and on others, he will open the floor for everybody else. A selfless mindset is a must!
1. EVERY SCREEN AN AMBUSH
The screener should arrive with pace. Sprinting into a screen makes it difficult for the defense to defend properly. If the target to be screened knows it is coming, flip the screen or change the angle. Be diverse.
2. ANGLES AND FOOTWORK
The goal is to reroute the defenders hips. If the defender getting screened turns his hips, slip to the basket. If he keeps his hips level, screen the lower third of the defender.
Dont let him the defender get under. If he does, "check" and rescreen the other way.
The first three steps are the most important, whether its a reverse pivot or forward pivot, the first three steps must be like a 100 meter dash. Straight to the circle, no banana cuts.
3. PLAYMAKING
Play to your strengths. If you can finish vertically, roll to the rim and look for lobs. If you can make quick decisions, short roll and attack from the mid post. If you are a threat to shoot the three, pick and pop. To maintain switch integrity, all screeners must have the ability to post guards.
COMMON MISTAKES
Here are the three most common ballscreen mistakes...
1. WALKING INTO THE SCREEN
Melting butter! Very easy to guard.
2. SCREENING SHOULDERS TO BASELINE
To easy to get under.
3. SELFISHNESS
It is not easy to be dependent on a guard to pass you the ball. Particularly early in the season. Just know, it is our aim to get to the ball to the roller every play. If that is taken away, other guys must make the play.
* A note on moving screens
To avoid a moving screen, the player must set his screen "inside a telephone booth." Feet inside his shoulders. Hips and shoulders square. You cannot lean into a defender for extra contact.
VIDEO EXAMPLES
1. Rockets Screening
BALLSCREENS (Ballhandler)
COACHING POINTS
The goal is to get the player to trust from the neck down, so that he can play from the neck up. Keep the footwork simple and the ball protected, so that he can survey the floor and make plays. Game reps are critical. Players must be willing to explore and make mistakes!
1. SETUP
The player should treat the screen like its 1v1. This means playing in an open stance, being a threat to go both ways and also to shoot. The goal is to gain a yard of space between the player and the defender. This will be achieved by being a threat to reject and shoot.
2. PROBING
The player must separate from the screen as to stretch out the 2v1 with the roll. The probing dribble, or "hang dribble" allows the player an extra half second to read the defense. If the big commits to him, pass. If the big does not, attack the rim.
3. PLAYMAKING
The defender in a 2v1 can either commit to the ballhandler or to the roll. If the defender commits to the ballhandler, he is now a passer. He must keep his eyes up and read the floor. Take a "soft gaze" of the floor. Don't focus on specific things. (Like a QB.)
The first read is to the roll man. If he is open, get it to him. If a help defender is taking it away, progress to the second read.
If the help defender has two feet in the paint, kick it that direction. If the help defender has no feet in the paint, hit the roll man. If they are straddling the key, manipulate them with your eyes.
If the defender commits to the roll, the ballhandler is now a threat to score. Gather the ball and "sticky step" or "jump stop" towards a pass or a shot. Remember its not a race from A to B, its about having options each step of the way.
COMMON MISTAKES
Here are the three most common ballscreen mistakes...
1. SETTING UP WITH A CLOSED STANCE
You are only a threat to go one way, so defenders can get into your body. If the ball is a threat to be stolen, you can close your stance, however when it is time to use the ballscreen you will have to swivel your hips or backdribble to get back to a square position.
2. PICKING UP THE DRIBBLE EARLY
Players dont trust what is going on from the neck down, their ballhandling and footwork. They get afraid that the ball will be stolen. Keep your footwork and ballhandling simple. Once you trust that it wont get stolen, you can play from the neck up.
3. FIXATING ON ONE OPTION
Players will often predetermine what they are going to do in a ballscreen instead of letting the game come to them. Remember, with a well executed screen, the defense is always wrong. Maintain a soft gaze, and be open to capitalizing on any opportunity given by the defense. Your vision should be like a "floodlight" and not a "spotlight." See everything.
VIDEO EXAMPLES
1. Kobe Bryant
2. Joe Ingles
3. Argentina
4. Milos Teodosic
5. Steve Nash (1)
6. Steve Nash (2)
7. Saint Mary's
8. Joe Rahon
9. Dimitris Diamontidis
10. Andre Miller
11. Russell Westbrook
12. Gordon Hayward
The goal is to get the player to trust from the neck down, so that he can play from the neck up. Keep the footwork simple and the ball protected, so that he can survey the floor and make plays. Game reps are critical. Players must be willing to explore and make mistakes!
1. SETUP
The player should treat the screen like its 1v1. This means playing in an open stance, being a threat to go both ways and also to shoot. The goal is to gain a yard of space between the player and the defender. This will be achieved by being a threat to reject and shoot.
2. PROBING
The player must separate from the screen as to stretch out the 2v1 with the roll. The probing dribble, or "hang dribble" allows the player an extra half second to read the defense. If the big commits to him, pass. If the big does not, attack the rim.
3. PLAYMAKING
The defender in a 2v1 can either commit to the ballhandler or to the roll. If the defender commits to the ballhandler, he is now a passer. He must keep his eyes up and read the floor. Take a "soft gaze" of the floor. Don't focus on specific things. (Like a QB.)
The first read is to the roll man. If he is open, get it to him. If a help defender is taking it away, progress to the second read.
If the help defender has two feet in the paint, kick it that direction. If the help defender has no feet in the paint, hit the roll man. If they are straddling the key, manipulate them with your eyes.
If the defender commits to the roll, the ballhandler is now a threat to score. Gather the ball and "sticky step" or "jump stop" towards a pass or a shot. Remember its not a race from A to B, its about having options each step of the way.
COMMON MISTAKES
Here are the three most common ballscreen mistakes...
1. SETTING UP WITH A CLOSED STANCE
You are only a threat to go one way, so defenders can get into your body. If the ball is a threat to be stolen, you can close your stance, however when it is time to use the ballscreen you will have to swivel your hips or backdribble to get back to a square position.
2. PICKING UP THE DRIBBLE EARLY
Players dont trust what is going on from the neck down, their ballhandling and footwork. They get afraid that the ball will be stolen. Keep your footwork and ballhandling simple. Once you trust that it wont get stolen, you can play from the neck up.
3. FIXATING ON ONE OPTION
Players will often predetermine what they are going to do in a ballscreen instead of letting the game come to them. Remember, with a well executed screen, the defense is always wrong. Maintain a soft gaze, and be open to capitalizing on any opportunity given by the defense. Your vision should be like a "floodlight" and not a "spotlight." See everything.
VIDEO EXAMPLES
1. Kobe Bryant
2. Joe Ingles
3. Argentina
4. Milos Teodosic
5. Steve Nash (1)
6. Steve Nash (2)
7. Saint Mary's
8. Joe Rahon
9. Dimitris Diamontidis
10. Andre Miller
11. Russell Westbrook
12. Gordon Hayward
PAINT FINISHING
COACHING POINTS
It has been said that a player becomes effective in the paint, when his toolbox aligns with his athletic ability and individual strengths. So with that in mind, helping a player finish in the paint either helping them leverage their already existing strengths, or guiding them to it.
A paradox exists when finishing in the paint: We want to keep things as simple as possible, yet very rarely are two finishes ever the same. As a coach, we have to help the player find the fine line between keeping it simple and having enough options to finish in any given situation.
In keeping with our principle of giving players structure and than allowing them freedom to play to their strengths, we provide structure within our "circle reads" and their general guidelines.
1. DEFENDER NOT IN CIRCLE
When the help defender is not in the circle, the offensive player should look to score on his own man. If their is contact, he should finish off of two feet more often than not. If he can gain a step on his man, he should finish off of one foot, before the help can fully rotate.
2. DEFENDER IN FRONT OF CIRCLE
When the help defender is in front of the circle, the offensive player should SLOW.... down. This is where we want to see an old school jump stop. The player must stop his momentum, as to not draw a charge. From a jump stop, the player can find the open man, or pivot for a shooting angle.
3. DEFENDER IN THE CIRCLE
More than the other two areas, the individuals athleticism and skillset will determine what to do here. An athletic player should challenge the help at the rim and look to get fouled or finish. A smaller player should look for the floater or to "nash" around the help defender. All players can look to utilize the jump pass here.
FINISHING SERIES
A large collection of finishing moves appears at the bottom of this page. These videos can help guide a player towards finishing moves that fit their athletic abilities and strengths.
COMMON MISTAKES
1. LANDING OUT OF BOUNDS
Landing out of bounds is a reasonably strong indicator of poor paint finishers. This is because it is very hard to turn horizontal movement into vertical movement. Not only are these players not getting lift into their finish, they are shooting against a moving target. As a coach, players may need to be taught how to decelerate and jump vertically.
2. USING 1 FOOT AGAINST 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 jump off of two feet in these situations, as to maintain balance and eliminate horizontal momentum. Smaller players will certainly be an exception to this rule, however many times players will improve with this simple distinction.
3. PICKING UP THE DRIBBLE TO EARLY
In a live game, it is 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. This is most often because a player doesn't know how to "gather" the ball. They are afraid of the ball getting stolen, so they pick it up early. As a coach, either teach them to identify better driving lanes, or how to gather the ball after the second dribble.
Video Examples:
1. Dallas Mavericks
2. Utah Jazz
3. Dayton Flyers
3. Northwest Missouri State
4. UC San Diego
5. Colorado Mesa
Finishing Series:
1. One Foot
2. Two Foot
3. Drag Stop
4. Stick Step
It has been said that a player becomes effective in the paint, when his toolbox aligns with his athletic ability and individual strengths. So with that in mind, helping a player finish in the paint either helping them leverage their already existing strengths, or guiding them to it.
A paradox exists when finishing in the paint: We want to keep things as simple as possible, yet very rarely are two finishes ever the same. As a coach, we have to help the player find the fine line between keeping it simple and having enough options to finish in any given situation.
In keeping with our principle of giving players structure and than allowing them freedom to play to their strengths, we provide structure within our "circle reads" and their general guidelines.
1. DEFENDER NOT IN CIRCLE
When the help defender is not in the circle, the offensive player should look to score on his own man. If their is contact, he should finish off of two feet more often than not. If he can gain a step on his man, he should finish off of one foot, before the help can fully rotate.
2. DEFENDER IN FRONT OF CIRCLE
When the help defender is in front of the circle, the offensive player should SLOW.... down. This is where we want to see an old school jump stop. The player must stop his momentum, as to not draw a charge. From a jump stop, the player can find the open man, or pivot for a shooting angle.
3. DEFENDER IN THE CIRCLE
More than the other two areas, the individuals athleticism and skillset will determine what to do here. An athletic player should challenge the help at the rim and look to get fouled or finish. A smaller player should look for the floater or to "nash" around the help defender. All players can look to utilize the jump pass here.
FINISHING SERIES
A large collection of finishing moves appears at the bottom of this page. These videos can help guide a player towards finishing moves that fit their athletic abilities and strengths.
COMMON MISTAKES
1. LANDING OUT OF BOUNDS
Landing out of bounds is a reasonably strong indicator of poor paint finishers. This is because it is very hard to turn horizontal movement into vertical movement. Not only are these players not getting lift into their finish, they are shooting against a moving target. As a coach, players may need to be taught how to decelerate and jump vertically.
2. USING 1 FOOT AGAINST 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 jump off of two feet in these situations, as to maintain balance and eliminate horizontal momentum. Smaller players will certainly be an exception to this rule, however many times players will improve with this simple distinction.
3. PICKING UP THE DRIBBLE TO EARLY
In a live game, it is 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. This is most often because a player doesn't know how to "gather" the ball. They are afraid of the ball getting stolen, so they pick it up early. As a coach, either teach them to identify better driving lanes, or how to gather the ball after the second dribble.
Video Examples:
1. Dallas Mavericks
2. Utah Jazz
3. Dayton Flyers
3. Northwest Missouri State
4. UC San Diego
5. Colorado Mesa
Finishing Series:
1. One Foot
2. Two Foot
3. Drag Stop
4. Stick Step
SHOOTING
COACHING POINTS
We want players to shoot with confidence. Most players, at our level, can improve their shot by simply putting in the reps. When players do need assistance, it is important to encourage an external focus. In our experience, drawing the players attention to the flight of the ball and where it lands on the rim, has payed the largest dividends.
Any technical instruction, if needed, should be geared towards getting the ball to go straight. Issues can arise in the players connection to the ball, connection to the ground and the transfer of energy along the kinetic chain.
1. SHOOTING THE BALL STRAIGHT
4. "LEAKING" ENERGY ALONG THE KINETIC CHAIN
In extreme cases, players will "leak" energy somewhere along the kinetic chain. For the shot to have flow, the upper body and lower body must extend in concert with each other. If a player is inconsistent with extension in some area of the shot, it will create an inconsistent shot.
Often times, a leak can be repaired naturally by maintaining a focus on the shot line. However, if the issue remains unresolved, a coach can diagnose the faulty joint. (Which will more often than not be the elbow or the wrist.) One handed shooting has proven to fix most of these issues.
We want players to shoot with confidence. Most players, at our level, can improve their shot by simply putting in the reps. When players do need assistance, it is important to encourage an external focus. In our experience, drawing the players attention to the flight of the ball and where it lands on the rim, has payed the largest dividends.
Any technical instruction, if needed, should be geared towards getting the ball to go straight. Issues can arise in the players connection to the ball, connection to the ground and the transfer of energy along the kinetic chain.
1. SHOOTING THE BALL STRAIGHT
To shoot a ball straight, we should envision a pool stick striking a cue ball. If the pool stick strikes the cue ball in the center, relative to its target, it will go straight every time. (Physics!) This is our goal of shooting instruction, to get the shooting finger to drive through the center of the ball relative to the target.
2. CONNECTION TO THE BALL
Often times players are not aware of which finger leaves the ball last. As a coach, help the player determine their individual preference for which finger leaves last. It will be the the pointer finger, the middle finger or a split finger release. (Dependent on hand size and shoulder/wrist mobility.)
Once the shooting finger has been decided upon, work to build a connection between where the ball is hitting the rim and how it felt leaving the players hand. If the ball misses short, the shooting finger went through the bottom part of the ball. If the ball misses long, the shooting finger went to high on the ball. If the ball misses left or right, the shooting finger was left or right of the center of the ball. (Like a cue ball)
Often times, this is all that is needed to improve a players shot. If the shot is still having issues, the problem will likely lie in the "funneling" of the ball. Help the player find a "balance point" for the ball in the middle of the palm. Encourage them to "hold the ball like a bird." Not so tight that they would crush it, but not so loose that it can get away. Help the player learn how to funnel the ball from his palm, pinky and thumb, towards the shooting finger.
2. CONNECTION TO THE BALL
Often times players are not aware of which finger leaves the ball last. As a coach, help the player determine their individual preference for which finger leaves last. It will be the the pointer finger, the middle finger or a split finger release. (Dependent on hand size and shoulder/wrist mobility.)
Once the shooting finger has been decided upon, work to build a connection between where the ball is hitting the rim and how it felt leaving the players hand. If the ball misses short, the shooting finger went through the bottom part of the ball. If the ball misses long, the shooting finger went to high on the ball. If the ball misses left or right, the shooting finger was left or right of the center of the ball. (Like a cue ball)
Often times, this is all that is needed to improve a players shot. If the shot is still having issues, the problem will likely lie in the "funneling" of the ball. Help the player find a "balance point" for the ball in the middle of the palm. Encourage them to "hold the ball like a bird." Not so tight that they would crush it, but not so loose that it can get away. Help the player learn how to funnel the ball from his palm, pinky and thumb, towards the shooting finger.
2. CONNECTION TO THE GROUND
The release is really all that matters in regards to the flight of the ball. (In terms of physics.) However, some players can improve their consistency with a better connection to the ground.
A players connection to the ground will be generally determined by their connection to the ball. Generally speaking, players that shoot with their pointer finger will need to turn their feet slightly, and players that shoot with their middle finger will be more square to the rim.
Regardless of the stance, work with the player on eliminating horizontal momentum. Simply make players move before they shoot, so that they have to use their legs to create balance into the shot. Often times a good coaching que to use is "spongy knees." Which means to absorb the energy from the ground and create the tempo for the shot. If a player is moving fast, he will need spongy knees to slow down. If the player is moving slow, he will need spongy knees to speed up.
A players connection to the ground will be generally determined by their connection to the ball. Generally speaking, players that shoot with their pointer finger will need to turn their feet slightly, and players that shoot with their middle finger will be more square to the rim.
Regardless of the stance, work with the player on eliminating horizontal momentum. Simply make players move before they shoot, so that they have to use their legs to create balance into the shot. Often times a good coaching que to use is "spongy knees." Which means to absorb the energy from the ground and create the tempo for the shot. If a player is moving fast, he will need spongy knees to slow down. If the player is moving slow, he will need spongy knees to speed up.
4. "LEAKING" ENERGY ALONG THE KINETIC CHAIN
In extreme cases, players will "leak" energy somewhere along the kinetic chain. For the shot to have flow, the upper body and lower body must extend in concert with each other. If a player is inconsistent with extension in some area of the shot, it will create an inconsistent shot.
Often times, a leak can be repaired naturally by maintaining a focus on the shot line. However, if the issue remains unresolved, a coach can diagnose the faulty joint. (Which will more often than not be the elbow or the wrist.) One handed shooting has proven to fix most of these issues.
ATTACKING THE PAINT
SECONDARY DEFENDER: NOT IN CIRCLE
When there is no help defender in the circle, the offensive player will want to score on his own man. If he has a "one-step advantage" he should look to finish off one foot, to maintain the advantage and to get to the rim before the defense can rotate. If he has a "shoulder-chest advantage" he should look to finish off of two feet, to account for contact from his primary defender.
Common Mistakes. Players will commonly utilize a one foot finish through contact. This makes it difficult to get off a balanced shot at the rim. There are three reasons this happens. First, players want to beat their man to the rim. If they haven't beaten them by the elbows, they should maintain the shoulder to chest, instead of trying to outrun it. Second, players pick up the ball after one dribble. This forces them to cover ground with their two remaining steps. They should instead, dribble, dribble, skip and land on a two foot jump stop. Third, players aren't comfortable with bumping their defender with their shoulders and hips. They need to develop a feel for "bumping" their defender, to create space for a two foot landing.
SECONDARY DEFENDER: IN THE CIRCLE
When the defensive player is in the circle, he has to leave his feet to contest a shot. This is an appropriate time for the offensive player to challenge the defender in the air. The way to do this, will depend on a players individual strengths. A bigger player could two foot power jump and finish through contact. An athletic player could jump off one foot, looking for the pass or finish through contact. A smaller player could fake the shot and keep the dribble alive.
POWER FINISH
JUMP PASS
ONE STEP ADVANTAGE = ONE FOOT FINISH
TWO FOOT FINISH = SHOULDER CHEST ADVANTAGE
Common Mistakes. Players will commonly utilize a one foot finish through contact. This makes it difficult to get off a balanced shot at the rim. There are three reasons this happens. First, players want to beat their man to the rim. If they haven't beaten them by the elbows, they should maintain the shoulder to chest, instead of trying to outrun it. Second, players pick up the ball after one dribble. This forces them to cover ground with their two remaining steps. They should instead, dribble, dribble, skip and land on a two foot jump stop. Third, players aren't comfortable with bumping their defender with their shoulders and hips. They need to develop a feel for "bumping" their defender, to create space for a two foot landing.
SECONDARY DEFENDER: IN THE CIRCLE
When the defensive player is in the circle, he has to leave his feet to contest a shot. This is an appropriate time for the offensive player to challenge the defender in the air. The way to do this, will depend on a players individual strengths. A bigger player could two foot power jump and finish through contact. An athletic player could jump off one foot, looking for the pass or finish through contact. A smaller player could fake the shot and keep the dribble alive.
POWER FINISH
JUMP PASS
NASH DRIBBLE
Common Mistakes. Players will often jump stop in front of the charge circle and try to finish. The player at the rim can time this up and will often block the shot. Players will try to finish off of one foot, whether its a euro or a traditional shot, leaving themselves off balance. Players will
SECONDARY DEFENDER: IN FRONT OF CIRCLE
When the secondary defender is in front of the charge circle, he does not need to leave his feet, as he is free to take a charge. The high percentage option for the offensive player is to not leave his feet, jump stopping, and avoiding drifting into the defender for the charge call.
TEAM EXAMPLES
- Dallas Mavericks
- Utah Jazz
- Villanova Wildcats
- Dayton Flyers
- Colorado Mesa
- UC San Diego
- NW Missouri St.
PLAYER EXAMPLES
- Bigger NBA
- Medium NBA
- Smaller NBA
- Bigger D1
- Medium D1
- Smaller D1
- Bigger D2
- Medium D2
- Smaller D1
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