T.J. Otzelberger, South Dakota State Man-to-Man Transition Offense Sets

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1 T.J. Otzelberger, South Dakota State Man-to-Man Transition Offense Sets -I always wanted to coach, but was unsure if I d be able to break into the business because I didn t play Division I and didn t have many connections to D1 coaches. -Fortunate to work under four great basketball minds: Greg McDermott, Fred Hoiberg, Lorenzo Romar and Steve Prohm. -I feel I did a poor job as a high school coach with our offensive attack. We had a great push in transition and then it went right from that push to a halfcourt set or continuity offense. I felt like we were missing something, like there was an inbetween. If you don t get the primary, there s something you run. Break: 4: Trailer 1: Butt to sideline looking for outlet 2/3: Wide (need to be hugging sideline by volleyball line) 5: Rim-runner (front of rim) -We install all this secondary, but what we really want to do is play in our primary break. -We want our PG crossing the middle of the floor (through the jump circle) and settle into a spot above the elbow (PG and trailer s spacing needs to be lane-line to laneline). -It was amazing how obsessed Fred Hoiberg was with spacing. -We talk constantly about flattening the defense by our wings getting all the way to the corners. We want the biggest driving gaps possible. If he stops on the wing, we don t have enough room. -We want our rim-runner emptying out to the Dunk Spot (a foot outside the hashmark on the baseline). Even if you can t dunk it, the spacing is the best possible scenario to allow the floor to open up. -Everything we do in transition is a read off our point guard:

2 Pass ahead to the wing ( Hit ) DHO to wing ( Side ) Reverse through the trailer ( Swing ) Drag ball screen ( Drag ) Dribble middle and flip it back to 4-man ( Flip) Swing (reversal) -Reverse the ball through the trailer. Get it from side-to-side. Make the defense shift. -Wing busts out of the corner and v-cuts to get open at FT lineextended. Trailer passes it to him and cuts to the elbow before going to set the side ball screen. If the trailer runs into it without getting to the elbow, it s too easy for defense to go under. -Guard s mentality coming off that first ball screen is get his shoulders squared to get the ball downhill (north/south). -We teach our bigs to short-roll. We want to play with a rip & drive 4-man or a 4-man capable of shooting it. We are looking to throw that pocket pass. Swing Spur (versus hard hedge or a soft hedge that holds a bit)

3 Swing Crack Swing Step (2 takes one dribble off the pick & roll. 5 sprints up on air-time so he s there on the catch to set a flat) Side (DHO to wing) -PG DHOs to strong-side wing. Wing (3 in diagram) catches it and throws it ahead to 4 (important for 4 to stay beyond the lane-line to make it a long run) and cuts underneath (sort of a brush screen). 1 comes back to FT line extended and 4 throws it to him. 4 cuts through the elbow to set a side pick & roll.

4 Side Step Side Crack Side Spur

5 Hit (Advance pass to wing prior to halfcourt) -Anytime our PG throws the ball ahead before he gets to halfcourt, we are in Hit action. Wing catches off the sideline. PG follows his pass for a handoff. Wing can fake the handoff Bigs must be ready to read the point guard because he can throw ahead to either wing Drag -PG doesn t advance. It s important for 4 to get in front of the ball. 5 gets to ball-side. 4 short rolls. -Can go Double Drag as well. -Can also go Wide Drag with the 5-man sprinting up to set a drag (with our 4 traditional transition spots filled). Drag Burn

6 Flip (middle drive and flip to 4) -This is the series that was so good at Iowa State with Georges Niang and Royce White. PG drives the middle gap and tries to attack the nail. He flips it back to 4. Flip Step -Can also go Flip Burn (3 cuts backdoor on 4 s drive) -Anytime we call Punch, it means we re going inside. So we can call Swing Punch or Side Punch, etc. We don t like cross screens (too many bodies). We act like we re going to set a ball screen and bring the big in the Dunk Spot to the ball-side block. Side Punch

7 Swing Punch -Coaches have different philosophies about what they want the weakside of the floor to look like as a pick & roll is being run. Some guys like movement & pin-downs. I personally just like it spaced because I think movement sometimes allows one defender to guard two. I want the ball-handler to know he has all the space in the world to make a play. I think the better your players are, the more you should stay spaced. The less talented you are, the more actions/misdirection you should have. -It s imperative no one holds the ball. There s no time to think and evaluate. Shoot it or drive it. -Important that the 5-man in the dunk spot is ready to get to the front of the rim (toes on the charge circle) whenever the ball is dribbled to the baseline or the ball is thrown to the short-roll.

8 -Terminology is so important. It s hard for your players to understand play names if they re just named after the team you got them from. Our terminology is football-like. The first word is how we initiate the action (Swing/Side/Drag/Flip/Hit) and the second word is the action. All the terminology is uniform. -On any loaded pick & rolls (side ball screen with corner-filled), if we can t get to the rim we are looking to throw it back and throw it into the post.