Ep. 355: Jiu-Jitsu Tape Study, feat. Corey Guitard

Speaker 1: Hey everybody, before we get started this week, I have huge news. She actually did it. We're pleased to announce that Beatrice Jin, top-ranked women's competitor in North America and long-time BJJ Mental Models Premium community member has published her first ever course with us, exclusive to BJJ Mental Models. It's called Stop Being Nice. It's a three-part audio series designed to solve real mindset problems that regular folks experience in Jijitsu. If you struggle to be aggressive and competitive in Jijitsu, you'll find the solutions here. If you're already a BJJ Mental Models Premium subscriber, you've already got access. And if you are not, good news, you can get it now and get your first week free. Go to BJJ Mental Models.com and check it out today. Speaker 2: Hey, welcome to BJJ Mental Models episode 355. I'm Steve Kwan. BJJ Mental Models is your guide to a conceptual and intelligent Jijitsu approach. And I'm here today with Corey Guitard. Corey, how's it going? Speaker 1: It's going well. How are you, Steve? Speaker 2: I am also doing well. And I want to make sure you get a chance to say hi and introduce yourself. It's the first time you've been on the show here. So, for people not familiar with you, why don't you tell everyone who you are and where you train? Speaker 1: Awesome. My name is Corey Guitard, as you said. I'm a black belt from 10th Planet Montreal initially, and I now own and operate 10th Planet Calgary. And yeah, that's pretty much it. Speaker 2: Nice. And I wanted to ask you a few questions about tape study here today. That was the topic that we had discussed. You'd been suggested to me as a great person to talk on this concept. But maybe before we do, let's get into your background a bit. So you're someone who is really double down and drilled into the tape study side of the game. But maybe explain to me how this came about and how you developed this background that that kind of led you to this path. Speaker 1: Yeah, sure. So I started Jijitsu while I was in grad school. At the time, I was lecturing in research methods. So I was in sort of deep into research design and and studying anyway. And so when I started Jijitsu with it being so difficult and complicated, I kind of leaned on the skills I already had. Um, I had a lot of friends in the gym that were offering me like instructional DVDs. Like I remember some of the first ones I got were like Pablo Popovich or this was around 2012, right? So like Pablo Popovich, uh, Damian Maia Science of Jijitsu, and those were some of the earliest sources. And I remember when I would study those things that between class and the different instructors I was looking at, I would see kind of the same moves performed differently or positions used with different names. And uh, I guess that was also exacerbated by the fact that when I would roll, I would maybe have trouble implementing certain details of a move even though it was taught a particular way. And so I would lean pretty heavily on watching film and trying to kind of compare the application of movements like both across athletes and with one athlete, like, for example, how they explain it versus how they're performing it live across a a sample of of examples. And then also like, okay, so two different athletes, how is one person doing a hook sweep? How's another person doing a hook sweep? So I was really leaning on a set of skills I think I had already been developing in another field to sort of resolve the contradictions that I was running into for just understanding the sport as a student. And so that was the first sort of foray into to film. And then as I sort of practiced that more and more, I started developing these like Mills methods charts, which are basically just like comparison charts. And I'd be able to pull out what were the universal details of a movement. I mean, now I think people would call that invariance, but we would I would try to capture like what has to be here? What what do you got to do in do do a butterfly sweep, right? And that kind of helped me learn what was important or what was more important and what was less important. And so that was like the kind of first step, but in doing that, I also got really into like BJJ Scout and Gamble Dub and I started learning entire systems from watching studies and then started to make them myself. So over time it developed to the point where I have lots of different methods for different specific goals, but it started really with just me being confused and trying to figure out what was right. Speaker 2: I think that's how most of us got started here. I'm still confused. Speaker 1: Yeah, yeah, awesome. Speaker 2: Well, maybe we can kick this off by asking a question that's pretty simple, but it's always worth digging in here. What is tape study? How would you define exactly what this is and why should people do it? Speaker 1: Well, I think that like when you talk about what it is, I think anytime that you're engaging with footage as a learning tool, you're you're doing tape study. I mean, maybe even when you're just watching it for entertainment, but obviously that that is a little different. If I sit down and I'm I'm watching with intent, then it it's tape study. And obviously there's like I said, you can have a a different approach based on your goals and also just who you are and what you know. But anytime I think you're engaging with film with intention, then you're you're doing tape study. My opinion is that that's valuable for pretty much everybody. I don't know that everyone's going to dive in the same way, obviously, but I think that watching is one of the best ways to learn. So I think it's it's super helpful, yeah. Speaker 2: And what exactly are you watching here? You talked about instructionals as well, but I presume you're watching beyond that and probably some rolling or comp footage too. Speaker 1: Totally. Yeah. I mean, I've at this point, it depends on the goal. I have like a a bunch of different tools that I use. Like like I said, initially I was trying to figure out, you know, what's universal or invariant about a particular move or and so that's kind of how I started building charts, pulling that out. But that grew into like I said, like if you watch BJJ Scout, Gamble Dub, BPS breakdowns, Less Impressed More Involved, like all of these sources are really good for especially getting like a top-down view of either systems or trends, you know, and it helps you sort of identify problems that maybe you weren't capturing and maybe get an idea of what type of solution might work and and how those things exist maybe in a little bit of an ecosystem. So, for example, you're playing butterfly and you noticed every time someone posts an arm, there's a shoulder crunch. Every time someone posts a leg, there's a an attack in the inside space between the knees. And so you start to pick these things up maybe faster than you would or at least the understanding that you're collecting here is is easier for you to use than the more detailed system of movements you might be getting from your coach in class. So I think, yeah, I think those are two ways, but I also think you could be watching individual matches, athletes runs through tournaments, the entire tournament, comparing it to other tournaments. You could be watching your rolling footage, you could be watching your competition footage or your opponent's competition footage. So I would like at this point, when I'm talking to a student, I would start with what their immediate objective is, and then I would try to tailor like sort of a film study approach for that particular objective. Speaker 2: I see. Well, I'd like to dig into that process. But before I do, first, maybe we should set some definitions here. You talked about invariance. We've discussed this here on the podcast before, but for those who may have missed it, how would you explain what an invariant is and why is it important for people to learn those and focus on those? Speaker 1: Yeah, so I think that invariant would just be the something that the movement, the solution, however, whatever language you want to use, it's not going to happen without this thing. And I again, when you talk about rules, they can be deterministic or probabilistic, right? So perhaps more of the rules in Jijitsu, I think are probabilistic. If I can give an example, like the relationship between base and balance, I would argue is deterministic. Like if you move somebody's center of gravity outside their base, they'll lose balance, like 100% of the time. But killing, let's say attacking the post on a butterfly sweep, I would say that's a probabilistic rule, but it's still a rule. The reason I would say it's probabilistic is like, let me put you for a second in a shoulder crunch and maybe you would target a sweep to the side of the the post, the shelf on your shoulder, but maybe you feel you have enough leverage to just push them right over the post on the other side, which there are film examples of. So that would be like a probabilistic rule, right? But then you may have a whole bunch of other sort of elemental detail that might be helpful for you, might not, might be contextual. I wouldn't argue that it's good or bad. I would just say that it's not necessary. So if you're concerned, like if you apply all these details in the movement and they just all work for you, then you don't have to address anything. I'm even saying, but if you are having trouble like I did understanding where to start and perhaps where to start is what generally needs to be there for this solution to work. And then that's kind of where like adaptability comes in is you can you can adapt the rest of your body and let yourself organize a little bit better if you're focused only on the things that need to happen. And again, that's not saying that there isn't more that could happen, obviously. But it's a great place to start with any solution is to know like what are the actual component parts of this solution? What needs to be here? Speaker 2: I see. I see. And just for complete clarity here, when you say deterministic versus probabilistic, what do you mean by that? Speaker 1: Well, what I mean is that like if like A plus B equals C every single time, deterministic. A plus B results in C 95% of the time, uh, probabilistic. Speaker 2: Got it. Now, here's the funny thing about Jijitsu is so much of what we do is context dependent. A lot of the time, the way that you might do a technique in one situation is different from the way you would do it in another. In fact, it gets hard to even know if there's really anything that is deterministic because most things are so context dependent. How do you figure that out? I mean, when you're watching an instructional, how do you tell what are the things that are always going to be the case, like the invariance versus the things that are really just there for context or flavor or maybe depending on the coach's attributes? How do you tell the difference? Because that's one of the hardest things about trying to learn a new technique is figuring out what are the things that you absolutely need to do versus what are the things that you might want to do given the situation? Speaker 1: Sure, yeah. I don't know that anyone has a perfect understanding of that. I think the deterministic rules of the game are the universal rules of the game, you know? So for example, if you're talking about hip and head height or base and balance, these are things that they kind of apply across the board and they kind of win every time if performed correctly, you know? So the things that are deterministic, I and I wouldn't pretend to know them all, right? But I would say that like, I think we're all pretty familiar with like, for example, the reason I use base and balance is because it's the one I'm the most confident in, right? And so you know that it's impossible to push somebody's all belly button, for example, over their blocked foot and then not have to adjust, right? So that happens every single time. So that's kind of easy. Now, pulling out a deterministic element of movements, I think that's even harder because I think there's like because it's a fixed situation, or at least you're looking at it as a fixed situation, but it isn't, that variation is like a complicating factor. So like it isn't with base and balance because I'm describing something general. So no matter which context you look at, you can find it. But if I'm describing a foot position on a butterfly sweep, I agree with you completely. I think one, the best you're going to get in many cases will be probabilistic. And then there'll also be a lot of things that aren't rules, but maybe the situation changes. Like this is a friend of mine I was talking to me about this yesterday actually, and he was saying how you may have a set of three or four what you consider to be essential details to a movement. And maybe you have like like six or seven elemental details to that movement and the context changes and one of those details that you previously considered elemental, you now consider essential. And so, yeah, I wouldn't say that this is a perfect process, but I would say that when you're watching film, if you're watching, like I said, I remember specifically when I was a white belt doing one Mills method comparison on butterfly sweeps and, you know, you always saw somebody tilt the shoulders. You always saw somebody attack the post. You always saw somebody break the posture. And you always saw somebody use the leg as a lever to move the hips over the shoulder. So these are things that you can describe at least as probabilistic rules. But something like whether they were using an overhook or an underhook or a supinated or a pronated grip on the wrist or things like that, I would argue weren't rules at all. And then maybe in some context they would become probabilistic rules and maybe that's a context I don't understand, but yeah, obviously complicated. I think the deterministic rules are universal across the game. And then I think you have like kind of the situational or or local rules and you'll have a few for each movement or solution and maybe context will change them, but I think usually they're kind of probabilistic. Speaker 2: One of the hardest things about learning new Jijitsu techniques, especially when you're new, is figuring out where that line is between the invariance or the critical control points, the things that have to happen for the move to work versus the things that are variable or adjustable. And it's made more complicated by the fact that most coaches don't explain this stuff. I mean, when I was a beginner, I didn't even know that there was this distinction. I was given techniques and told, follow these steps to get this result. And it would be frustrating because I would drill the steps as my coach taught me, and I would try to do the move and my opponent would, I don't know, shift their weight or base in a different direction, and it wouldn't work. And so I'd pull my coach over and say, why isn't it working? And they would say, oh, well, it's because your opponent posted with their right hand instead of their left hand, and this move's not going to work then. If they do that, then you got to switch to this other move. And I'm thinking, well, you didn't tell me any of this, right? I mean, you gave me this solution and you told me, follow the steps, get the result. But what actually happens in practice is there's so much variability in Jijitsu that you can never really control what your opponent is going to do. And so if you think that just following all of the steps equally will always get the same result, you're going to be sorely disappointed. And so I think where most coaches could really benefit is making very clear where that distinction is between, here are the things you should always be trying to do versus here are the things that might make sense given on the situation or the context. Speaker 1: Yeah, I couldn't agree more. So the reason that I started sort of my film study journey with Jijitsu by using comparative methods was because I was like anxious or confused about, well, what is the right way? So the thing is when you come into the room and the coach is saying this is the right way, and then there's a lot of detail in that particular explanation, and then you see anything different, how could you feel anything but confused, right? So I definitely think it's better as a coach to start off with a more general, more heuristic approach to movements and situations. And I think your students build a model that allows for more variability and and they can come up with a lot more themselves. And then later on, I also find like interchanging details is not as difficult. Like when you learn to do something very specifically, it it's hard later to make adjustments. But when you have like sort of a schema built in in place of of what the heuristics are, I don't know, it's pretty easy for me to to switch a grip on something at this point because I've spent a lot of time allowing myself to solve the problem, you know, in in in a more fluid way. So, yeah, I definitely approach teaching a little bit more like that. And again, before you mentioned like, how do you know? How do you know? Well, you like it's not perfect, right? Like if I list my three critical details, and that's an arbitrary number right now, but if I list my three critical details for every major movement in the sport, I think I'd have like probably 95% agreement with most of the the coaches that are really working hard out there. And then there'd be some disagreement and maybe I'm wrong and maybe they're wrong. And it's like, it doesn't have to be perfect. It's just a better approach. I think to be presenting these things as variable, but maybe pointing out the things that vary a lot less and letting us focus on those. And then I do think you have a pretty big appetite to tolerate and take on detail when you have a a good schema built in initially around heuristics. Speaker 2: Yeah, I see. Well, let's maybe illustrate how this impacts coaching. And then we can come back to talking about tape study a bit more. But first I want to show people what the the cake looks like after you bake it. So, when you're running your class, the example that you brought up earlier was the butterfly sweep. How would you teach this based on what you've learned out of tape study? And how might that be different from the way people are used to getting taught this uh so-called fundamental technique? Speaker 1: Yeah, well, I mean, so like the approach that we use in our gym is informed, like if there was a theoretical, if there was one theoretical sort of background, it'd probably be active inference. Like if you watch, there's a podcast recently with uh Greg Souters and Jeff Haddad that they discussed this. I was lucky enough to have a student who's a cognitive scientist who works in this field, kind of a couple of years ago introduced that to me. And because I was big on like, I like a lot of the concepts from Eglodgerodynamics. I like, I like aliveness from like sort of SVG. I like embodied cognition from like Andy Von. There's a lot of ideas that I think are super helpful. But I had trouble with the the thinking you do about Jijitsu has no role in the doing Jijitsu, right? And then, you know, the explanations for learning sometimes aren't that opera, like they're not easily operationalized on the ecological side. So like I wanted to be able to combine some of these ideas. And so like active inference sort of lets you do that where you can you can introduce models, you can assume that there's a model being updated, but you can also assume that not all your movement is top-down motor command. There's self-organization and you're training people to look for affordances, but you're also giving them some information, some more structured information about what to try and where to look. And so that might be that if I teach a butterfly sweep, I teach it as like, hey, I've got these elevators in place. We're going to start with those. I'm going to try to use my grips to wheel my partner's shoulder. In doing this, I'd like to break their posture and attack their post. And my goal is going to be to use their leg as a lever to lift their hips over their shoulder. And we'll probably play like that. Like I do like there to be an objective for both players. And we I still call it drilling even though it's live, but that's just like language. I'm not sure if that's the right way to describe it. But so we'll live drill this situation and then I'll have obviously an idea of how to scale this, but I'll also be watching my students and listening to their questions and I'll leave a couple of time periods like sort of reserved so that I can address whatever their specific issues are with the movement. So maybe we're going to scale it to only allow one player to pull with their legs or or to only allow one player to post with their arms, you know? And so we can build out the system. And so we are using a lot of the in my class, I mean, we are using a lot of the tools from CLA, but we're also using a lot of the modeling. And so that would be where we're sort of using active inference. Speaker 2: Got it. Okay. So when we talk about tape study, whose responsibility is this and how is it useful to people? So, do you recommend that everyone in the room be doing tape study, students included, or are you using this more as a coaching tool? Speaker 1: Both. I mean, again, when I say everyone, when you say everyone in the room, I don't know that I like that I really push everyone in the room to do anything. I run a program that we're like we want to be competitive for the purpose that like a lot of these people are the type that like like to be getting really good at something and and trying to see that they can compete and perform at at a high level. So that's like their that's their internal motivation, you know, their intrinsic motivation. So like we also have people who are in the gym who like most people who just don't even compete at all, right? So but they probably would be training at a different place if they didn't enjoy like a pretty serious class and training with pretty serious people. So we try to keep, you know, that serious focus on the art and whatever our training task is for the day, but at the same time, like I'm not here to tell people what their goal should be or anything like that. So I don't like enforce or even have the ability to enforce that anybody does anything in particular. But I encourage the whole class to watch some degree of live film, like like ADCC or some who's number one or something like that. At the very least to have them develop expectations that are more realistic. So at least if they watch some film, they understand what real grappling looks like at a high level and that acts as a filter for any information that I might be giving them or any information that they might be encountering themselves in other forms of study. So for sure, I think just like watching some is good for structuring your understanding of what the game is in general. But then if they had specific objectives, I'll try to provide them a more specific approach to watching film. And if they are competing like a high-level tournament, I'm flying out to coach them, then I will have some mandatory film sessions that they they got to come and attend with me. Speaker 2: Now, what kind of film do you suggest that people watch here? Of course, there's a lot of different variants, like you talked about. You've got your traditional Jijitsu instructionals, which are basically people walking you through the quote-unquote steps of how to do a move, usually with zero resistance. On the flip side of that, you've also got competition footage, which is what really happens in competition, but often because it's happening as it goes, you don't get a lot of people explaining during the moment what's happening or why it's working. Then you also have people who try to blend the two. Again, you brought up a friend of the show Jake Luigi from Less Impressed More Involved, who try to do kind of explainer videos where they take what's working in competition and they basically back it out into almost like an instructional where they explain over what happened in the live roll. So you've got a lot of different tools at your disposal. What do you normally recommend to people? You know, if a, let's say one of your white belts comes to you and says, hey, Corey, I've got 30 minutes a day, every day to study for Jijitsu, and I want to get as good as I possibly can. What would you tell them to do with that time? Speaker 1: Well, I think the first thing I would ask them some questions. So I'd ask them like, is there anybody whose game you really like like and you want to emulate or you're interested in? Because I think that them being engaged and interested is like super important. So I'd probably start with that. And then I might ask them also like, is there a particular problem that you're trying to have? So I'd want to know what it is they're trying to get out of it before I give them any more advice. If they don't, but let's say like they're a white belt, like you said, they're coming to me and they they just want to get better and they really don't even know where to start. They don't know any athletes, they don't, you know. So then maybe I would look at them and I'd say, hey, I think maybe like this guy's always being pinned. Let's let's go watch a Oliver Taza match where Taza's escaping some pins. And then maybe there's a study of that match or that's included in one of, you know, the Less Impressed More Involved videos. And I could say, hey, pair these. Like watch this match and then like watch this study and then go back and watch the match again. And you don't have to take notes or anything if you want to. I think that's helpful for me anyway. But but yeah, sort of like looking at it at a different level. So watching something happen and then watching somebody describe it happen and then going back to watching it happening again with that new perspective. I think that's a really great way for somebody who's just starting to get a grasp of things. Speaker 2: I actually like that idea of attacking the same problem from multiple different angles and layers because what so many people do, and I've been guilty of this myself, is they'll kind of just try to sample a bunch of different stuff without having any real methodology. And I think a lot of, especially a lot of beginners do this where they will just be perpetually consuming, you know, Jijitsu instructionals or YouTube content, and it's all over the place. It's stuff about anything, anything that is kind of trendy or interesting at the moment. But the challenge is if you only look at a problem one time through one lens, it's going to be really hard to come out of that with a solid understanding of how to defeat that problem. Whereas if you go deeper into a problem and you attack it from multiple different angles, that I think can be very helpful. So the example you brought up there, I mean, I think that if you have a problem that you want to solve and you find a bunch of different tools to work around that, being a traditional instructional, maybe some live comp footage and breakdowns, maybe some hybrid analysis like Less Impressed More Involved, and then you tie that into your actual training, even though you're only really learning quote-unquote one thing, just in different ways over and over again, I think that's going to be more beneficial than for most people, than watching a bunch of different unrelated stuff one time and just moving on and forgetting about it. Speaker 1: Yeah, I agree. I don't think it's as useful to have this kind of diffuse, disorganized method of studying. I completely agree. I also think it's totally natural. Like I think before you know how to exploit anything, you're going to explore, right? So it and that was like when I started studying instructionals, I just I watched nauseating amount of stuff. It's not that I didn't learn a lot from that. I did learn a lot from that, but the the juice isn't always worth the squeeze. It's like the sooner that you can find a structure to improve how much you're pulling out for every bit of effort you're leveraging your study. And so like it's normal for students to start by just sort of sort of meandering around and picking up whatever they can. But as soon as they can find some solid ground to stand on and choose a direction and develop an approach, I mean, that like you said, you're going to get more out of that per hour study than you would just sort of surveying the field, for example. Speaker 2: Yeah, yeah. The benefit to going broad and sampling a bunch of things is discoverability. You might find something, yeah, you might find a weird, unique thing that you never would have thought to learn or even think about otherwise, but just because you were sampling a bunch of stuff, you found something cool. But you're not going to be able to really apply or master something unless you specifically dig deep into that. So I think a combination approach where maybe you're going broad and you're sampling a bit, but then once you find something you want to work on, you intentionally go deep into that. I think that makes a lot of sense. I mean, if you're too broad, then you're going to have a lot of trivia in your head, but you're going to be unable to execute a lot of that stuff just due to lack of dedicated training. Whereas if you go deep, you might be really good at stuff and that's important, but you might also be last to the party when it comes to new trends that are coming by as well. So I think you need a bit of both. And where the challenge often comes into play, where the bottleneck often is, is just time because there's so much content out there that just figuring out what to do with the precious little time you have is the biggest obstacle most of the time. How do you deal with that? Like how do you decide with the limited hours that we have in a day for things like tape study? How do you decide where to put that time? Speaker 1: Yeah, well, first I agree basically with what you're saying. I think you you explore to look for something new and I think you also tend to explore when you don't know what you're doing. And I think those that's beneficial, but I think overall having most of your time spent with intent, like you said, is going to be going to bring more for the amount that you're putting out. And in terms of myself or for my own schedule, so this has only become a problem recently. When I decided to go full-time into Jijitsu, like I I was coming from an environment where 18-hour days were normal. And so I I just I took that same approach in Jijitsu and I would train, you know, two, three times a day and I would I would study between before and after every single class. And so that's all I did. And I mean, not that that's necessarily like a healthy approach or a sustainable approach, but that's that is if I'm being honest, that was my approach. And then as I got older, there's a couple of things. One, you're older, you're tired, right? Uh, two, I have a couple kids. I run a business and there's diminishing returns to just sort of reckless amounts of studying, right? So all of that has made me have to compress my study time and it's made me a lot more thoughtful about how I want to approach things. Like now I tend to build study guides a little bit more. So I'll watch a bunch of stuff, whether it's instructional or live and I'll build a little study guide that I'm working off of. I'll have sessions at the gym that are just for me and other instructors that we go and we may work live or semi-live situations where we can sort of tinker with the the study guide and the information we're bringing in. I do have a schedule, which I'm not saying everyone has to have a schedule or anything like that, but because like I said, I have a super demanding like combination of being a dad and running a business and I still compete a little bit too. So with that and coaching, like I tend to give myself like an hour and a half every work day to study. And so now that's pretty much what I do. And sometimes I break the rule and I like tell my wife, I'm like, listen, there's something I want to dig deep into today and I'll I'll spend the whole day on it. But more often than not, I have a schedule where I'm, you know, I have my family time and then I have my my class and then I come home and I study and prepare my classes for the nighttime and then I, you know, hang out with my kids and make dinner or whatever and then I do my night class and then I come home and I watch an hour of film, you know? And so these days I I definitely the the combination of using study guides and structuring my film study more like intently, like allows me to get a lot more out of it. But again, this is like a personal process that I got to over years of of both gaining experience and skill in film study and also um having my time split up by competing demands, right? Speaker 2: Well, here's a question I got for you and I think a lot of people in the audience might also hear this and think the same thing. Some people might hear the outline that you've put forth there and think to themselves, man, an hour of tape study every day. I would be lucky to get an hour of Jijitsu in every day. I'm, you know, I do this for fun, I do this as a hobby. I'm lucky to train once or twice a week. And so if the expectation is that people are training every day and then doing an hour of tape study every day, you're going to immediately lose like 99% of the people in the sport. What do you think about this for maybe the more casual folks? People who train Jijitsu for fun and they're serious, they want to get better, but they just have a hard cap on how much time they can spend. How can those people really get the most out of something like tape study? Speaker 1: Yeah, and totally. So like and I'm not trying to make anyone feel bad about themselves. People got to remember this is my job, right? So if it's your job, obviously you can spend way more time doing it. Um, but for people that like, let's say you're the average, you get to train twice a week and maybe you can commit one other hour per week, right? So you're busy, you're a parent, you have a 40-hour week job and maybe even have another hobby, right? So if you're in that sort of situation, again, like kind of like you've alluded to, I I do think that like the more structured your approach, the better. Maybe you have, you know, one day a month, I'm just going to explore and watch stuff on YouTube for an hour or even for half an hour, let's say, 20 minutes even. Um, fine. But I think that more often than not, it would be better to have a project, right? So and again, that project, depending on your goals, could have different shapes. But having an idea of, oh, I'm studying this particular athlete. I'm going to watch one match, one 10-minute match from this athlete twice a week for a month, you know? Or like I said, I'm going to watch one match and then the next time I get to study three days from now, I'm going to watch a breakdown that I know discusses that match. And then, um, a couple days later, I'm going to watch the match again, you know? And then now maybe I'll scale that and and watch another match of that same athlete or watch another match of somebody who's using the same skill set and then watch a breakdown of that. Or maybe I'm going to watch one, you know, like if you talk about instructionals, right? Like Danaher and Gordon's are they're quite long, but you know, if you watch something from, you know, Joseph Chen or Jason Rao, they tend to have like shorter installments. So you could watch a 15-minute installment and then you could watch some rolling footage like the next time for 15 minutes. And the last thing I'll say about this is if you have a really, you really compressed, I think studies are this is where I think things like BJJ Scout was sort of the maybe the first big guy on in in this market, but Jake Luigi now, I think does a really fantastic job. Those are great. Like you you get a lot of bang for your buck by watching seven to 16-minute breakdown video. And maybe you can even watch it twice. Like watch it once on Monday, watch it once on Wednesday and you really get those ideas down. You're bringing at least you're bringing things to practice to work on, they're going to get you some gains, you know? Speaker 2: Yeah. I think too, it's also a lot easier to use your time wisely and to get more results out of little time if you have a a specific plan or a specific goal that you want to work on. What I find works easiest for me, I mean, I personally don't find watching Jijitsu instructional or even competition to be a particularly compelling thing. It bores me. I like doing Jijitsu. I don't like watching Jijitsu, which I think is a common thing for a lot of people. What I find helpful is if there's something that I specifically am struggling with or that I specifically want to work on, it's a lot easier for me to then go and figure out how to study content to work it into that because there's an existing problem that I'm dealing with that can kind of be my anchor and it can give me focus around that. Whereas I I find sometimes if I were to just sit down and watch a, you know, a five-hour Danaher instructional on a random topic, I don't think I would be able to get through the whole instructional. But this is another common thing too. People sometimes feel obliged to watch the whole instructional. And you really don't need to, right? This isn't like reading a book. You're there to solve problems and acquire knowledge. It's okay to nip in and nip out. And a lot of people will use instructionals or even event footage like a reference. Well, they'll they'll pop in, they'll watch the five or 10 minutes relevant to them, they'll focus on that, and then they'll move on to something else. So you don't have to sit there and watch the full thing end to end unless that specifically is of value to you somehow. I think that again, sometimes we get this completionist thing in our head where we we feel like we have to watch the whole instructional. But if there's a specific problem that you want to focus on today, I think it's fine to compartmentalize around that and say, hey, I'm sure there's a lot of other great stuff in here, but due to my time constraints and due to my focus for today, I'm watching this section on butterfly guard and then I'm going to pause this and move on to something else or go back to training or go back to real life. Speaker 1: Yeah, and I mean, so I couldn't agree more. I think what you're basically talking about is having restraint. And I think that's going to help you in your study, and I think that's going to help you in your life, and it's going to help you in your Jijitsu as well. Being able to control your focus basically. So like I'll let you in on a secret, but you don't got to read the whole book either. If you're uh in you're in studying a subject in school, like maybe there are particular books that are so dense with important information that we read them cover to cover and memorize them. In any given field, there might be a handful of books like that. And there's going to be far more books with a valuable insight here and there and maybe something that your teacher or your prof might say, hey, go read this chapter, you know? So like that's pretty common, I think across studying in all fields that and and I agree with you about the feeling, that completionist feeling. Like I struggle, whether it's a book or a video game or a movie, I I will struggle with that restraint to turn it off if it's not doing anything for me. And then but you're wasting like really valuable time. Like it wasn't until I had kids that I was able to turn off a video game and not finish it. Like I had to finish everything I played. And now I'm like, if this isn't doing it, we're just going to turn it off. And I think like to your second point, so yes, you can definitely, I think that's actually the by far the better way to do things is to to take what's useful for you right now and then to to build on that. And you can come back to things later, right? And you will. And then the second point that's related to that, right? But you were talking about like, you know, if you're going to watch a Danaher instructional and you memorize every move, like that's how I approached it at first and I would watch the DVD two, three times, like obsessively. And not enjoying myself, but because I really driven to make sure I understood it. And so I could have gotten 95% of that gain in 80% less time. You know, like so did did I gain a lot of knowledge that way? Yes, but was it efficient? Like not even close. Like because you can't really solve problems before you understand them. And so, for example, if you're learning that like, oh, I can attack the post, we'll come back to this butterfly sweep example because it's it's done us well so far. But let, you know, the first time that somebody posts their arm out, you are not going to probably succeed. Like with 99%, you're not. Even if you know the solution, you were taught it. It's because you you have to be like, oh, that's what they were talking about, you know? So you could not that that never happens or that you're never going to learn a solution before you encounter the problem. I don't think the world works that way. But but if you are choosing what to do with your time, it's better to like have an objective, run into the problem, go find the solution to the problem, like exactly I think as you're describing it. That's overall going to be a better approach. I don't think that we use one approach or use the optimal approach all the time. But when you're correcting and you're trying to focus yourself and structure a good approach, then for sure that's it. Like, hey, try to sweep this guy from this situation. Here's the essential details to the sweep. Okay, what problem are you having? Okay, try this, you know? And I think that works a hell of a lot better than, hey, memorize all this information. Now go drill it. Now go try it live because you're just going to come back and repeat the process that we're discussing afterwards anyway, right? Speaker 2: Yeah. Another thing that's probably worth pointing out is there's different things that you can gain out of studying something. In Jijitsu, people often assume that when we're studying a move or technique, it is with the intent of mastering it for our own purposes. But that's not the only use case. There's a lot of times where you might study something for different purposes. The most obvious one being because you're a coach. And the approach that you take if you want to coach a technique could be different from the approach you take if you want to do a technique. I can tell you that as a podcaster, often times I study things with the intent of leading a conversation on that topic. So I'm not necessarily trying to master this move myself, but rather I'm trying to get enough what ifs and questions and justification in my head that if I ever talk to the person who popularized that technique, I can get them to explain that stuff way better than I ever could. So there's different reasons you might study something and the way that you study might be different depending on your goal. Do you ever find this? Do you find like as a coach, if you are trying to coach a technique, do you practice or study around that differently from the way that you would if you were just trying to learn and master a technique for your own purposes? Speaker 1: Yeah, I mean, totally. I think trying to master every move is would be a fool's errand, you know? Like not because I think it's necessarily even if it's impossible, that's not why I think it it's it's foolish. The reason I think it's foolish is because you could be doing something else that would be more beneficial. Like, for example, it's like would Shaq have been better if he was sick at at three-pointers? Like, well, maybe, but probably he would just be passing up opportunities to get to the rim, you know? So it's like there's a opportunity cost to everything. And you're remember solo talking about this, like you you all have the same amount of time on the mat and how you use your time to become more effective at what you do is ultimately more important. And of course, that includes some breadth. It's not just depth of one skill. There's breadth involved, but there's a risk of trying to, you know, like go really broad and then really deep in everything is like you don't have the time for that, right? Even if you did have the skill. So yeah, I don't think that's the approach either, you know? And and so when I'm the the second thing you said, I think was what do I study something differently if I'm going to teach it? And yeah, like if I'm trying to learn something, I'm trying to personalize it. Like to me that is the learning. It's like I know the invariant aspects of it and now I'm going to try to personalize it first and then like as I'm doing that, I'm also adapting to every situation that I'm in with that particular solution, right? So that's my main focus, right? Is making it work for me first and then for me all all the time or as often as possible, second, right? And then if I'm trying to learn it for a student, there's sort of two things I would say to that. The first would be maybe I'm trying to understand like again, as much as possible, but not necessarily be graded everything, you know? I'm trying to have as much information as I can to help people if the information is helpful. If I determine it's helpful, I'm going to give it to them or somehow structure a situation where they can discover it. And then in terms of like if it's a specific student with a specific problem, I might dive deeper into it to help them and we're going to like tinker together, right? So maybe I watch some film, maybe I come in, maybe we work on it together, right? But yeah, definitely my approach would change if I'm learning this for me, I'm learning this for everybody or I'm learning this for somebody else in particular. Speaker 2: Got it. Got it. There's one other particular type of tape study I want to get into here, but I'll lay the table first before we dig into that. So, some people are just inherently good at things like tape study. They're just really good at watching two people do Jijitsu and then technically pick apart what happened. Then there's other people who just because they think differently, they really struggle with that approach. And I'd consider myself to be one of those people. I mean, there will be folks who will watch like a five-minute competition match and they'll be able to microanalyze and pick out every little thing that happened and why. I don't think at that level of detail, right? I I can't really do that just by watching someone else grapple. However, my approach is maybe more intuitive. I kind of have to feel something and internalize it myself. I always want to understand why we're doing things a certain way. That to me is much more important than the how. And I find that sometimes people who have that mindset, they're just they don't enjoy tape study as much. However, there is one particular type of tape study that almost everyone can relate to and get benefit from, and that is self-tape study. That's a totally different ball game, right? If I am watching John Danaher roll or yak or do whatever, that's a disembodied experience, right? And I can either absorb that or I can't. But if I record myself rolling, either a casual roll or a competition match, and then I play it back and watch it myself later, it's a completely different experience because unlike watching someone else, I have the context. I know exactly what happened in that roll and why. And if I did something, I know why I did it. And if I made a mistake, I will be able to more easily identify where that was and how things started to come apart. So, I find that self-tape study is a tremendously powerful tool, but it's also one that not nearly as many people as you would think actually use. I'd love to hear your thoughts on this on self-tape study. How do you guys do that? Do you record your own rolls? Is it something that's part of your process? Speaker 1: Yeah, so like and I'll go through all of these. So to your first point, for sure, some people have a knack for a skill. There's no doubt about that. And and usually maybe I'm good at something and you're kind of more naturally you have a proclivity for something else. Fine. But if you remember like back in high school, you'd have like certain people that knew all the words to every song, right? And sure, maybe those people were also pretty good at picking up those lyrics from listening, but when I'd hang out with those friends at home, they were learning songs. So it's like there's often times a little bit of behind the scenes stuff that's going on there. So I'm not saying that some people aren't don't have natural abilities that other people are like struggling in those areas. Of course, that's true. But also the people who seem to be really good at watching film probably also watch a ton of film. So I think it's important to not feel for anybody to not feel like, oh, this is hard for me. It's like, maybe maybe it's a little bit harder for you than someone else, but also maybe the person that you think is so gifted is putting in a lot of work behind the scenes. So I think that's important because I think that I watched like tens of thousands of hours of film. And I don't think I was particularly good at it at first. I think I had an idea from another field that I worked in about like how to approach it, but practice made me better, knowing where to look, watching the same match over and over. Like when I watch a match with my students and they're like, oh, how'd you notice that? I was like, bro, I watched this six times last week. And now I'm coming in to watch it with you and I'm prepared, you know? So it can make you look impressive, but really it's just effort behind the scenes. So some that's part of it anyway. And then the next thing I think you talked about was uh self-tape study. And I I couldn't agree more that it like I can't understate how valuable it is. Not just your competition film, but your rolling footage. There's so few people who watch their rolling footage. It's something that I I've had a few athletes come to me from other places. There's a couple people moved here to train with me and and one of the first things that I would I would do with them is like film some of their rounds and then make them come in the room and watch them. And I remember one of them, she's a brown belt and she's actually she she got finished second last year at the Worlds at adult brown belt, right? So she's pretty competitive. She's top eight at trials. And she said, I've never done this before. And I was like, I couldn't believe that you've never watched yourself roll before, ever. Not in a stupid way at all. I just can't believe that like that like it's so common to be so good without even using that tool. So for sure, watching yourself roll is even more than just rolling, like film specific scenarios that you have trouble with. You always get passed from chest to chest half. Play 10 minutes of chest to chest half, film it, watch it, go back, film it again. Like if you do that process, you go through that process, there's no way that you're not going to make improvements. And the same with watching your competition footage will help you pick out things to work on next time. It'll also help you double down on things that you're doing pretty well. And then one other technique of film self-watching your own footage from rolls or competitions that we use is um, like we had a girl, her and her sister both won the kids advanced uh US ADCC US Nationals a couple days ago, right? So these are two girls are 14, 16 and they went down and they both won. One of them is very, very, very like confident in their Jijitsu and the other one's not so confident, very, very technical though. And her mom made her like a highlight video of her subbing people, you know? And and included some positive messages in there. And it's like like that I think that was really helpful for her. So she's someone who gets in her own head and then to watch her self on film, not not only to watch her problems, but to be like, hey, look, I can solve problems. Like I can make me feel better about this challenge that I have to go and try to overcome right now. So, yeah, I think a lot in there, but yes, watching yourself in rolls, in comps, do well, do bad, do depending on the specific like goal at the time. I think all of that is tremendously helpful. Speaker 2: Yeah, yeah. The interesting thing about comp footage too, or even just rolling footage in the gym is it gives you the ability to revisit things. And the the more you revisit a problem, the more you're going to retain it and be able to unpack it. Much of the time when people say, I have trouble retaining stuff from instructionals. Odds are they watched it once and then they moved on with their life. But if you revisit things and you attack it over and over from different angles, it's easier to retain stuff. I mean, the example I can always give is, man, if you ever watched a movie and you think you kind of got all of the important points, but then you watch it again and you realize, I missed a ton of stuff. There was a ton of stuff that only made sense with the context of having watched it the first time. Competition and match footage is very similar to that, where the more you watch it, the more you can better understand exactly what happens. Now, from an individual perspective, that's doable because, you know, most people are not competing or rolling so much that they can't watch their own footage back if they can get it. From a coaching standpoint, though, you mentioned that, you know, you might be watching a clip six or so times before you talk to someone about that. How do you find the time to do that when you've got so many students in the gym? Speaker 1: Well, I mean, one, not all the students have the same demands, right? And I do treat them more as if they do, meaning like, if you're a white belt and you send me your footage, I'm going to watch it and I'll break it down, you know? Like I'm not going to do it for a black belt competitor and not not for you. I will do it. But but they don't all ask for it, you know? So because then now I'm I'm they're going to listen to this podcast, I'm going to be completely shocked. But basically, there's probably 10% of my students that are taking up 65, 70% of my time in study, you know? So if they all were coming to me, well, I'd I'd have to delegate somehow. I'd have to have a bigger coaching staff. It wouldn't be possible. But because of two things, because one, I think I just, you know, you talk about interest. I have a big capacity to watch. I like it, you know? I come home, I put on a TV show sometimes, I turn it off and I put on film because I enjoy it, right? That's not like I don't know why, but I get dopamine from it, right? So because I'm enjoying watching it, I have a tolerance to watch a lot more of it. And then the second part of that is that I don't not all of my students are coming to me with with huge film demands, right? Like in fact, some of the the top competitors don't I for some of them I push it on them, you know? So there might be 15 students in my gym who are occupying a lot of time with having me watch their film or me deciding to watch their film. And then there's a lot of others that have, of course, they have questions, they ask me in class, but they're not really asking me to watch their film. Speaker 2: I see. That aligns with my expectations too. It is not just work for the coach to watch film. It is also a lot of work for the athlete to produce the film and get it ready. And for that reason, a lot of people probably choose not to do it, even though it is a very good practice for them. One of the reasons that I hear quite often is people will say, well, I'm not, you know, I'm not a pro. I'm just doing this casually or a hobbyist. So I don't need to record my rolling footage. It's not a big deal. Man, I would say for those people, it might actually be more beneficial to get your rolls broken down because you don't have the benefit of having a lot of eyes on you telling you, you know, what you did right and what you did wrong in competition. Just recording a casual roll in the gym and having someone review that and break it down or even watching it yourself, it has way more value than I think a lot of people expect. The other thing too is it doesn't have to be anything special. Sometimes when we do rolling reviews, people will they'll really kind of, you know, get analysis paralysis because they'll think like, I want to film the perfect roll. And really that's that's not what we're looking for here. Just record five minutes of yourself, just just doing your thing. It doesn't even have to be fancy. At least get the ball rolling. Even from very casual, non-serious footage, a good coach can actually still pick out a lot of interesting tidbits about the way that you roll that you probably haven't noticed yourself. I'm assuming your experience aligns with that also. Speaker 1: Yeah, I mean, man, I can't imagine if every student, not even like and I agree with what you said, you can film a whole roll for sure and we do that. But let's say you just go and you cut me a six-second clip of you having trouble escaping back control, right? And you go, what coach, what like what if you're more, you know, you like moves, what move to do here, what detail or if you're more heuristic, like which most of my students tends to be where I lean, what should my goal be here? I'm having trouble with this. How do I deal with this? More static problem or what should my goal be with this more sort of like high demand, faster developing problem, right? And I can give you that goal and then I can say, hey, in your next round that you come in, I want you to just live drill this situation and I want you to film that. And then you're going to send that to me, right? And then let's say we do that two, three times. And then let's say we do that two, three times with seven or eight problems over a year, right? And you just you probably just went up a belt level. I mean, not that that is even how not that I even know how that tracks progress. But like you've gotten better. For sure you've gotten better. But the definition of getting better because sometimes it's hard to tell. Everyone in your room is getting better too, right? And if they're all younger than you, maybe they're progressing faster and it feels like you're not. But if you are doing that and you're making improvements that you see on film, you are getting better. So I agree with you and I wish more people would even my own students because that takes me no time. I could go over 15 students, five-second clips while I eat a snack today, you know? And what you're getting out of it would probably be really, really helpful to your progression. So I agree. You might even have more to gain from it than than a pro athlete. Speaker 2: Actually, it's a funny point you bring up. Sometimes when people start asking and inquiring about sending in rolling footage for us to review, they'll ask things like, well, how much footage do I need? Should I send you, you know, 10 hours of me rolling a week? And I'm thinking like, man, you are you are overshooting this way too much. If you send me like 60 seconds of you rolling, that is more than enough to provide quality feedback. Speaker 1: Especially if you know, sorry to interrupt you, especially if you know what like this is the problem. You know what I mean? Like here I like you highlight the point at which something didn't work, offensively or defensively. And then it's going to be very easy to see for your coach, right? Speaker 2: Yeah. And I mean, my experience has been too, when someone breaks down footage, the output that they create from the breakdown will be orders of magnitude longer than the original footage. You know, it's not uncommon for someone to send in a a four-minute roll and get back a 25 to 30-minute response. There's a lot that a good coach can unpack in a short video. And the goal is not to send over the perfect rolling footage. The goal is to create a conversation, a dialogue with the coach, where you send in a bit, you get a bit of feedback. And as you mentioned earlier, Corey, you as the coach then say, hey, next time you roll, record this and work on this. And then a few weeks later, they come back with a new clip that is based on the last conversation that you had. And now you can build on that. And the way I encourage people to think of this is, it's like having an instructional made completely about you and your Jijitsu game. Right? When you watch a Danaher instructional, yeah, there's good stuff there. But John Danaher doesn't know who you are. He doesn't know anything about you or your Jijitsu. And he can provide some good broad strokes advice that works for him and his athletes, but everything in Jijitsu is subjective and personal. And you'll just never be able to get all of those details watching a one-way instructional in that manner. When you record your footage, though, and you send that to a coach to break it down, it is as if they are making a custom instructional for you. And that makes it so much more valuable because every second of that is going to be stuff that is directly relevant to you getting better. Whereas when you watch a Danaher instructional, and I I don't mean to keep shitting on him. I just use Danaher as an example because he's the most prolific and accomplished instructional creator out there. But no matter how good Danaher's content is, he just doesn't know who you are and he's not making it specifically for you. So there's still value there because you get kind of that lowest common denominator level of knowledge that works for everyone. Maybe there's some stuff specifically that you pick out that's valuable to you. But a custom tailored instructional, feedback directly from how you performed, that is a totally different level of useful. And the kind of people who do this, like you said, they'll it's always surprising when a high-level athlete doesn't do this because you get so much gains out of going through this process. Really everyone whose goal is to do Jijitsu seriously, they should probably be doing this now and then. Speaker 1: Yeah, no, I mean, I agree 100% with that. Like uh, you know, earlier you asked me about how I address certain students in some context. And I remember the first thing I had said was that I asked them questions and that that Andy Von talks about this quite a bit, like with his sort of Jijitsu version of embodied cognition. They call it body grappling, right? But just part of that is like the relationship with the student to the the player and the player to the class and like like you're going to be able to help somebody a lot more. If you're trying to help somebody develop their aptitude at something, like knowing who you're trying to help is, you know, pretty critical. So, yeah, I I agree completely that that like focused, short form, personalized information is overall some of the best bang for your buck that you can possibly get. And if you go to a school with a with a decent instructor, you have access to it. You don't even have to pay for it. You're already paying for it, you know? Like very I don't think there are many instructors who you should be training with that wouldn't take that 10-second clip. I can understand that some people might have limitations on watching a certain amount of competition footage depending on their life and their school and whatever philosophy their school has. But like who's not going to like what instructor is not going to be like, hey, yeah, you have to practice. Show me 10 seconds and I can I can give you a little help with that. So for sure that's something that people should be taking advantage of. Speaker 2: Yeah. The last thing I want to address with you here, Corey, is stigma and other reasons why people might not do this process. So, people, first of all, they're often very self-conscious about recording themselves roll. This is a bit less of a problem with competitors because often if you compete, someone's recording the footage anyway. So if you compete, you're probably going to get that footage and you can just give it to your coach. But for people in the gym who want to record their roll, often they're really nervous or shy about doing that because it's a new thing. They don't even know how to ask, you know, who they should ask about whether they're allowed to do it. They don't know how to set up a camera and get it recorded. They're worried about doing something weird in the class that other people might not expect. And that doesn't even get into the fact that a lot of gyms have a stigma against recording as well. One reason being because there's some people who, you know, they like to keep their Jijitsu secret and they don't want people recording footage from inside the gym. I mean, look, I can rip that apart. I'll but there are valid times when people, you know, if they've if they're specifically preparing for an upcoming event and they've got a game plan that they're working on, I can get them not wanting cameras in the gym for a few weeks. But the other thing too is with the rise of, you know, fitness bro influencers, the idea of busting out your camera and recording yourself doing exercise now is taken on a very negative stigma and a lot of people find it annoying. But it's a very valuable tool. So, how do you encourage people to bust out this tool? Because the big challenge I often find is people don't want to do it because they're shy about it or they're nervous about it. Speaker 1: It's funny, it's a very good point you're bringing up. Not something that I had thought of in at all actually, but I I actually read this analysis the other day about like kind of modern kids, like youth now that are uh slower to develop in skills across like a broad range of categories. Um and the variable that they were zoning in on was that that kid they're always on camera and kids are so occupied with the internet that they're scared to be seen looking silly. And not that they probably don't look silly anyway, but they're they're scared to try things in the way that like you or I in the late 90s, early 2000s might have, you know, sucked at skateboarding outside our house for hours or hours or hours or hours. And like I think we were a little bit more accustomed to practicing things without being watched. And I think that like that like even even the example I used before about kids like practicing songs in their house or something like that, right? So there's so many examples of like of people just like not being afraid to look silly when they're on their own and that that tends to help them develop a lot of skill. And some of the best people perhaps aren't afraid to look silly at all. And they they might have the most opportunity to see to capture affordances that allow them to take advantage of things and to to try things in the game your skills. And so, you know, you got to get rid of this feeling that like, okay, I'm going to look stupid. Well, you know, we're in spats wrestling around on a floor. We we do look stupid in a sense and like this whole thing is silly. So it's like, I mean, it's also really important to me, right? But what I mean is that like it if you were really that worried about looking silly, where you could just put on a a three-piece suit and and do that all day every day, you know? But you're here, you're trying to gain this like hard complicated skill. I think the first thing you attack is this sense that it matters if people see you fail at something. So I think if you get rid of that, maybe it'll be a little bit easier for you to take on this. But on top of that, you could just, you know, you could put some constraints on it and you could do it, you know, five minutes before practice or five minutes after. If you're really worried, you know, you could find a private time to film yourself or you could get a private with your coach or something like that. But I do think the bigger solution would just be to work on your anxiety about people thinking you're stupid or what have you because probably that's just your own projection anyway. And worst case it's true, really who cares? Speaker 2: Yeah, absolutely. I mean, something that people a word that is getting way too much play these days is cringe, right? People talking about, oh, that's cringe. You know, and I I kind of hate that because it implies a level of judgment for people doing something and going outside of their comfort zone and doing something unique and interesting. And it just gets dismissed with this one word, which is, you know, an an insult in many ways. And I just that really sucks, you know? We should be encouraging people to try new, weird, creative things to explore stuff. And again, maybe you're right. Maybe it is the the fear of being caught on camera doing something dumb that makes people not want to record this footage. But look, news flash, if you're doing Jijitsu, you're doing something dumb. You're doing something that looks dumb already. You might as well try to get better at it, right? So use the tools that you've got at your disposal to do that. Speaker 1: What's more cringe than not cultivating skills because you're afraid of what other people will think? So if you want to know that that's cringe. Like failing at something is a integral part of the process, you know? Like central to learning. So, you know, as long as you're analyzing each failure and not losing, you know, not losing faith that you can you can improve, then it's just part of the process. Speaker 2: Well said, man. Well, let's tie this one up. If people want to learn more about you, maybe ask a question or come train with you, how do they go about doing that? Speaker 1: I mean, I the only social media I really use is Instagram at uh @10thPlanetCalgary. Uh feel free to DM me. Feel free to come. We have an open gym, so you can come train with us anytime. And uh and yeah, thanks for having me. It was a pleasure. Speaker 2: No worries, sir. I will put a link in the show notes. I always tell people when we get cool guests on here, go give them a follow. So if you want to find Corey, just pop open your podcast player and I will put a link to his social media there to make it an easy find. I'll also put a link to everything that we make. It all lives at BJJ Mental Models.com. The podcast, the long form episodes like this are completely free. Our mini episodes that are kind of a faster, quick hit way to get to the key concepts we discuss on the show, they're also completely free. And our newsletter, over 14,000 subscribers is completely free too. So I tell people, the bare minimum, you're going to want to sign up for all of that stuff. Beyond that, if you want to level up with us, BJJ Mental Models Premium is how you do that. It's the world's largest library of Jijitsu audio courses. Think Audible, Masterclass, concepts, mindset, strategy, philosophy. We talk about the kind of stuff that doesn't fit well into a a traditional Jijitsu technique instructional. So if that's kind of the hole that you're looking to address in your game, we might be the best toolkit out there for you to do that. We also, man, this is a a timely topic. We also do offer rolling reviews. We've got an amazing review team, some of the best black belts in the world. Um including our fellow Canadian Brianna St. Marie is on our coaching team. So if you want really awesome black belts breaking down your footage and this conversation resonated with you, but you don't have a coach who can do it for you, check out BJJ Mental Models Premium in our coaching tier because it's something that we can do at a a really incredible price for what we offer. And we also are growing out the pro side of our business too. So we are increasingly building tools and systems to help uh Jijitsu businesses increase their reach and their reputation and grow the the size of their brand as well. We've come up with a a bunch of tools that have worked well for us and many of the gyms in our network and we're starting to open that up to others now. So we've got some limited seats in our pro tier. You can check all of that out at BJJ Mental Models.com. Again, I'll put a link to that and Corey's social in the show notes. But Corey, man, thank you so much for doing this. I love this topic. I've been a long-time advocate for tape study in Jijitsu and I think we we did a great job of making the case for why more people should be doing this. Speaker 1: Yeah, it was a pleasure. I'm a fan of the show and I appreciate you having me on. Speaker 2: Same here, sir. And thank you to the listeners as well. Truly appreciate you and we will talk to you in the next episode. See you then.