0:02 All right. Hey guys. So, today we're
0:05 going to be going over the guard passing
0:07 infinity gauntlet, which is not a video
0:09 I necessarily wanted to make, but I got
0:11 a lot of people asking about this cuz I
0:13 mentioned it in a YouTube video when I
0:15 was in Phuket recently. And essentially
0:17 what this is, it's not like it's
0:20 basically what in my mind I think of as
0:22 all the guard passing styles that you
0:24 kind of need to be good at to have very
0:26 like complete passing in the sense where
0:28 you have all the Infinity Stones and the
0:31 Infinity Gauntlet. So, broadly, if Fabia
0:34 doesn't mind going to his back, the way
0:37 I'm thinking about this is they're going
0:38 to be passes where you're inside your
0:40 partner's legs without upper body
0:43 connection. So, that's going to be split
0:45 squat, headquarters, and similar
0:47 variations to this. Then, you're going
0:50 to have passes where you have control of
0:52 your partner's upper body, whether that
0:56 be half guard, chest to chest, tripod,
0:59 etc., etc. So these are generally passes
1:00 that are going to be performed when
1:02 you're in front of your partner and
1:04 depending on the degree in which your
1:06 partner is like fighting this. Often
1:08 what they can do to make these things
1:10 difficult is by bringing their knees to
1:12 their chest. So what knees to chest is
1:14 going to do is they're going to make it
1:15 a lot harder for me to get control of
1:17 his upper body. However, what this is
1:19 going to enable me to do is actually
1:22 because now because eventually these are
1:23 very connected in terms of like going
1:25 through the guard to then controlling
1:27 the shoulders, right? because often
1:28 that's the path you're gonna have to
1:29 take. But I in my mind I think of them
1:31 as two different passing styles to be
1:33 good at because obviously you can go
1:35 through the guard but then eventually
1:37 start moving outside. But when I notice
1:39 my partner starts looking to bring their
1:41 knees to their chest depends on the
1:42 degree in which their heels are away
1:44 from their butt. This is going to
1:46 indicate to me am I going to kind of go
1:48 under the legs or am I going to go
1:50 outside the legs when their heels are
1:51 very close to their butt. Not to say
1:53 these are like heruristics. They're not
1:55 absolute rules because if their heels
1:58 are close to their butt, I can go under
1:59 the legs in some sense where I'm going
2:01 for this over under. But then I also
2:03 think this is a variation. It's almost
2:07 in my mind a mix of under the legs and
2:09 in between the legs, which these are
2:10 just like a this is like a rough mental
2:12 model. It's not like these are rules,
2:14 right? So obviously there's going to be
2:16 a lot of gray area. But when I find that
2:18 their heels are close to their butt,
2:21 this is where I find it easy to actually
2:23 start flanking my partner because when
2:24 their knees are close to their chest and
2:26 their heels are close to their butt, any
2:28 connection that they have on me isn't
2:30 really going to limit my movement,
2:31 right? I'm going to be able to move side
2:34 to side, even like anything you have
2:36 here, if you're retracted, I can
2:37 basically come to the outside quite
2:39 easily, which then leads into this kind
2:41 of outside passing. In terms of outside
2:43 passing, I think there are two types of
2:45 passing you have to be good at. one
2:47 where you're perpendicular to a partner.
2:49 So this is Jpoint. And the other is when
2:51 you're parallel to your partner, which
2:53 is going to be north south. So for me
2:54 personally, what I'm working on now is
2:56 actually a lot of north south passing
2:58 because I think a lot of opportunities
3:01 that you get from a flank have to be
3:03 finished with a north south pass, which
3:05 is not something I feel very good at. I
3:06 do think there are kind of different
3:10 skills that are very much complimentary.
3:11 So when situations where they're
3:13 defending the north south you could
3:15 possibly go into a flank and when
3:17 they're defending the flank
3:19 transitioning to a north south. I think
3:21 these are very wise things to do. And
3:24 then kind of lastly when if their heels
3:26 are like further away from their butt
3:27 right like that they're making good
3:29 connection to me it's going to make it
3:30 harder for me to get outside of his legs
3:32 but it's going to make it easier for me
3:34 to start looking to go underneath. And
3:35 this is when I find transitions to under
3:38 the legs passing to be most appropriate
3:39 where I'm here. I'm going to be able to
3:42 go stack pass, inside mid stack, over
3:45 under, double stack, etc., etc. And then
3:46 once you feel as though you're losing
3:48 this, maybe they're splitting their legs
3:50 very wide, maybe they're making it hard
3:51 for you to stay underneath, then we can
3:54 start once again combining it with maybe
3:56 through the legs
3:58 from here, like especially from an
4:01 overunder, right? From here, often we
4:04 can then transition outside the legs,
4:07 etc., etc. So,
4:08 it it's just like kind of like a one-off
4:12 thing I said, but I do think it right
4:13 now reflects my understanding of guard
4:16 passing and how it kind of interplays.
4:18 Obviously, this is subject to change,
4:19 but I do think this is a nice way to
4:22 think about, okay, what problems do I
4:23 have in certain situations and where
4:27 might I be able to pivot? This is a
4:28 large like something that everyone's
4:30 going to have to think about at some
4:31 point when working on anything is that
4:33 when do I persist and when do I pivot?
4:36 Obviously, what I'm talking about now is
4:38 very much catered towards pivoting and
4:40 switching where it's not necessarily
4:42 solving the problem, but it's almost
4:44 avoiding the problem where if you're
4:46 having a lot of problems from split
4:48 squat and you can't break through,
4:50 you're actually switching to another
4:51 position where they might not
4:53 necessarily be able to provide you with
4:55 such a problem that you can't solve. So
4:57 hopefully that's somewhat of interest to
4:59 you guys. Want to just make a video on
5:01 this to kind of talk about it a little
