5-Out Motion O ense – Complete Coaching Guide

Courtesy Basketball for Coaches

https://www.basketballforcoaches.com/5-out-motion-o ense/

The 5-out motion o ense is a fantastic primary o ense for basketball teams at any
level, but especially youth basketball teams.
It’s a positionless o ense that relies on spacing the oor and a set of rules that
assists players to determine their movements and actions.
Due to players making decisions and reading the play of their teammates and
defenders, the 5-out motion o ense is great for teaching players how to play
basketball.

Who Should Run the 5-Out Motion O ense?

As a positionless o ense, I highly recommend the 5-out motion o ense for all
youth basketball teams since it allows all players on the team to develop into well-
rounded basketball players.
This is important because it’s impossible to know which players will grow in height
and which players won’t.
Countless times I’ve seen players who have matured and grown early in life get
assigned to the post position only to have their teammates who developed at a
later time quickly catch up to them.
When this happens the player who developed early has had barely any practice at
dribbling, shooting from the outside, etc.
So it’s imperative that all youth coaches use a positionless o ense like the 5-out
motion o ense.
But with that said (sorry for the rant), it’s especially a great o ense for teams that
lack height and want to run a fast o ense with a lot of movement.
ff
ff
ff
ff
ff
ff
ff
ff
ff
fl
ff
ff
ff
ff
 Strengths:
• Creates positionless players – All 5 players on the court are required to pass,
cut, dribble, shoot, screen, etc. This is imperative for a great youth basketball
o ense.
• Can be used as a delay o ense – If your league doesn’t have a shot clock and
you want to hold up the basketball, the 5-out motion o ense will provide
movement and keep the defense honest while not looking at scoring options.
• Players learn how to play basketball – Don’t overlook this bene t. Players learn
to read their teammates and defenders and make decisions accordingly. This is an
important process that players won’t learn from running set plays all game.
• Every player contributes – When running this o ense, one or two players can’t
dominate the basketball. All players will be involved and must contribute to the
team’s o ense.
• Requires great spacing – If players are all in the correct positions, your team will
always have great spacing at all times. This opens up driving lanes and makes it
di cult for defenders to help each other.
• Di cult for opposition teams to scout – Since there are no ‘set’ passes or
actions, teams won’t be able to work out a speci c action they can stop to disrupt
the o ense.
• The opposition can’t crowd the key area – All defenders on the opposition
team will be required to guard all areas of the oor. This prevents them from
keeping their biggest players on the inside.
• Easy to teach due to progressions – One of the best things about the 5 out
motion o ense is that it can be taught in progressions. Players aren’t forced to
learn the complete o ense all at once which will overwhelm them.

Weaknesses:
• Not great for teams with one dominant player – If you have one or two
dominant players that contribute the bulk of your team’s scoring, this might not be
the o ense for you if you want your team to continue to play that way. All players
must contribute in the 5 out o ense. Even the weaker players.
• Players can get stuck in the motions of the o ense – When you rst
implement this o ense with your team, you’ll nd that they’re so focused on
running the o ense properly, that they forget to look for scoring opportunities.
• Sometimes di cult with a shot clock – Similarly to the above point, if your
players aren’t constantly searching for scoring opportunities, the shot clock can
play a factor and force your team to rush a shot with a few seconds left.
• Can take some time for players to master – While your players can quickly
pick up the actions and movements of the 5 out, it does take time for players to
learn how to quickly read the game and make smart decisions on the court.

5 Out Motion Rules

The 5 out motion o ense is governed by 5 rules that players must follow at all
times for the o ense to run smoothly.
ff
ffi
ffi
ff
ff
ff
ff
ff
ff
ffi
ff
ff
ff
ff
ff
fi
fl
fi
ff
ff
ff
fi
fi
 1. If your being denied and the player with the ball looks at you, back cut
immediately – Never hesitate. This assumes you’re only being denied one pass
away from the basketball.
2. If you believe you can attack the basket and score on your defender, do it –
Players must understand their own abilities and the abilities of their defender. If a
player thinks they can attack, they should do it immediately on the catch.
3. Players must square up to the rim when they have the basketball – A player
can’t telegraph what they’re going to do by facing a certain direction. By squaring
up, players can shoot, pass, or dribble.
4. Every action must be performed with purpose – If you cut, cut hard. If you’re
screening, focus on setting a great screen. Never pass and stand still.
5. Spacing is always on the NBA three-point line – The NBA three-point line is
about 2 feet behind the normal three-point line.

Setting Up the 5 Out Motion O ense

‘5 out’ simply means that all o ensive players on the oor are starting outside the
three-point line.
There are 5 spots that must always be lled unless players are performing an
action like screening or cutting.

The ve spots are:

1. Left corner
2. Left wing
3. Top
4. Right wing
5. Right corner
These spots should be on the NBA three-point line which is about 2 feet behind
the regular three-point line used by all other levels.
When teaching the 5-out motion o ense to your team for the rst time, I highly
recommend you use cones to mark these 5 spots on the oor to allow players to
get used to where each position is.
fi
ff
ff
fi
ff
fl
fl
fi
How to Run the 5-Out Motion O ense
There are 4 progressions that you gradually introduce one by one into the
continuity of your 5-out motion o ense.
All coaches must make sure they start with progression one and move up without
skipping steps.
This allows the players to gradually learn the concepts of the 5-out motion o ense
without being overwhelmed with the entire o ense all at once.
These are the 4 progressions:
Progression 1: Basic cutting
Progression 2: Screening away
Progression 3: On-ball screen
Progression 4: Dribble at
Let’s go through each of the progressions in more detail…

Progression #1 – Basic Cutting

The easiest way to begin teaching your team the 5-out o ense is to start with the
basic movements of passing and cutting in a 5-0 situation.
Start by setting out 5 cones at the 5 ll spots on the court. Let your team know
that when they’re not cutting, they must be in one of these 5 positions.
Now it’s time to teach the cuts…
There are 4 passes and cuts that can be made during progression 1.
1. Top to Wing Pass

On a top to wing pass, the passer basket cuts all the way through the key and lls
the opposite corner.
Once 1 has cut, 3 and 5 must ll up the positions closer to the basketball.
2. Wing to Corner Pass
fi
ff
fi
ff
ff
ff
ff
fi
 On a wing to corner pass, the passer also basket cuts all the way through the key
and lls the opposite corner.
Once 2 has cut through, 3, 5, and 1 must all ll up the positions closer to the
basketball.
3. Corner to Wing Pass

On a corner to wing pass, the passer basket cuts and replaces themselves.
The other 4 players wait in the same spot for the next action.
4. Wing to Top Pass
fi
fi
On a wing to top pass, the passer basket cuts and then lls the corner of the same
side they cut from.
On 3’s cut, 4 lls up closer to the basketball and then 3 replaces them in the
corner. The other 3 players wait for the next action.
Progression Practice:
Have your players practice this progression until they’re comfortable with the
passes and cuts.
This simple progression can be a great o ense for a youth basketball team by
itself. It will provide great spacing and get your players reading the play and
making decisions.
Coaching points when teaching progression #1:
• Remind your players that if they’re being overplayed, they must back cut
immediately when the player with the basketball is looking at them.
• To set up the defender and get open on a front cut, after passing the player
should take one step away from the ball and then explode to the ball-side of their
defender on the cut to the rim looking for the basketball.
• If the defender ‘jumps to the basketball’ taking away the front cut, the passer
should back cut and try to step in front of their defender to open up the passing
angle.
• Always watch the basketball on cuts. If a shot is put up, they need to know
immediately to establish rebounding position.
• Cut hard on all cuts to the rim. Doing so will make the cutter a threat to score
which will force weak side defense to help.

Progression #2 – Screen Away

Once your team is comfortable with the cutting phase (making the correct cut 80%
– 90% of the time), it’s time to introduce the action of screening away after a pass
instead of cutting.
This action can be performed on any top to wing, wing to corner, or wing to top
pass. The only pass it can’t be performed on is the corner to wing pass.
fi
ff
fi
 Before implementing this action, you must decide whether you want the player
being screened to always curl, or whether you’ll give them the option of cutting to
the top or curling.
I recommend all youth basketball teams (below high school) get this player to curl
o the screen every time so that there’s no confusion.
For high school teams and higher, you can allow them to read the defense and
perform the most appropriate option.
Option 1 – Screened player always curls o the screen
Here’s how it works on a top to wing pass…

1. 1 makes the pass to 2 on the wing. Instead of cutting, 1 decides to set an away
screen.
Note – It’s important that 2 waits while this screen is being set so that the curling
option is not missed due to passing to 4 too quickly.
2. 1 screens for 3 making sure that they set the screen at an angle that allows the 3
to cut to the rim.
3. 3 can either front cut or back cut towards the rim depending on how quickly the
defense reacts to the screen. But they must cut to the rim since they were
screened.
ff
ff
 4. After 3 has used the screen, 1 pops back out to the same spot that they set a
screen from. If 1’s defender attempts to help on the cut from 3, you’ll nd that 1
will often get an open shot from the top of the key.
5. After the cut, 3 lls the weakside corner position since 5 has lled 3’s previous
position on the wing.
Then all players are back in position for the next action to be made.
Option 2 – Screened player has the choice of curling or
popping out
If you’re coaching an experienced basketball team, you can give the player being
screened the option to curl or to pop out to the perimeter and receive the pass.
The di erence when using this option is that the screener must go the opposite
direction to the cutter.
If the cutter decides to pop out to the perimeter, the screener will cut to the rim
and then ll the corner.
If the cutter decides to curl, the screener will pop out to their original position.
Here’s an example of a top to wing pass using option 2…
ff
fi
fi
fi
fi
 1. 1 makes the pass to 2 on the wing. Instead of cutting, 1 decides to set an away
screen.
Note – It’s important that 2 waits while this screen is being set so that the curling
option is not missed due to passing to 4 too quickly.
2. 1 screens for 3 making sure that they set the screen at an angle that allows the 3
to cut to the rim.
3. 3’s defender cheats and goes under the screen so 3 pops out to the top
perimeter position to catch and look for the open shot.

4. Reading this, 1 cuts to the rim because they must go the opposite direction
of the cutter.
5. 1 then lls the corner position as 5 has lled 3’s previous spot on the wing.
I’ve found that inexperienced teams can struggle with option 2 so I recommend
starting with option 1 and then progressing to option 2 if you think your players are
capable.
Coaching points when teaching progression #2:
fi
fi
 • Players must be setting screens on the correct angle. This means the screener’s
bum should be facing somewhere between the player with the basketball or the
basket. Too often youth players will set screens too high that allow the defender to
quickly slip under it.
• The player setting the screen must make the player being screened aware with a
verbal cue and a visual sign. I recommend you teach the screener to hold their arm
up in a st and call out the player’s name before setting the screen.

Progression #3 – On-Ball Screen

Once your players are comfortable with cutting and screening away, next up is the
action of setting on-ball screens.
This action of the pick and roll is often very e ective because the o ensive players
are spaced out well.
The on-ball screen can be used after any pass in the o ense.
Here are two examples of setting an on-ball screen in the 5-out motion o ense:
Example #1 – Top to Wing Pass On-Ball Screen

1. 1 passes from the top to 2 on the wing and then sets an on-ball screen on their
defender.
2. 2 uses the on-ball screen and drives hard to the rim surveying the options that
are presented.
3. Depending on how the defense reacts, 2 can pass to any of the perimeter
players or make the shot in the key.
If the basketball is kicked out and the shot isn’t immediately taken, all players must
nd one of the 5 ll spots and the 5-out motion o ense starts again.
Example #2 – Wing to Corner Pass On-Ball Screen
fi
fi
fi
ff
ff
ff
ff
ff
1. 4 passes to 2 in the corner and then sets an on-ball screen on their defender.
2. 2 uses the on-ball screen and drives hard to the rim surveying the options that
are presented.
3. Depending on how the defense reacts, 2 can pass to any of the perimeter
players or make the shot in the key.
A lot of coaches who run the 5-out motion o ense make it a rule that on each pass
to the corner the passer sets an on-ball screen. So if it works for you, consider
incorporating it as a rule into your o ense!
Coaching points when teaching progression #3:
• As with the previous progression, it’s super important that players are setting the
on-ball screen at the correct angle that allows the player with the basketball to
attack the rim.
• The three players not involved in the pick and roll should do their best to move
into open positions where they can catch and shoot or catch and drive.
• Start to introduce to the players that they must take into account each player’s
skill set before making an action. For example. Your team should not set an on-ball
screen for player that can’t dribble the basketball well.
• Just like in the screening away progression, players must be giving a visual and
verbal cue to the player they’re about to set an on-ball screen for by saying their
name and holding up a st.

Progression #4 – Dribble At
Another action to add to this continuity o ense is the ‘dribble at’ action.
This can be used when a player with the basketball is being heavily pressured and
the only options to pass are being denied well by the o -ball defenders.
In this scenario, the player with the basketball may decide to dribble towards
another player at a di erent spot.
When this happens, the two o ensive players involved (the dribbler and the player
they’re dribbling towards) have two options.
1. Backcut
ff
fi
ff
ff
ff
ff
ff
If the player without the basketball is being denied, they can make a hard back cut
looking to receive the basketball for a layup.
If they don’t receive the pass, they ll the weakside corner, the other players rotate
towards the basketball, and the next action begins.
2. Hand-o

The other option is to perform a hand-o between the two players.

This is similar to the pick and roll where the other 3 players on the court should
hold their positions and wait.
The player that receives the hand-o should attack the rim and kick out to
shooters if the defense slides over to help.
Coaching points when teaching progression #4:
• When performing hand-o s, the player with the basketball should rotate their
hands so that they’re on the top and bottom of the basketball. This allows the
player receiving the hand-o to grab the basketball on the sides.
ff
ff
ff
fi
ff
ff
 • In my opinion, I don’t like hand-o s for youth basketball. For my youth teams, I
have them automatically back cut on a dribble at.

Piecing the 5-Out Motion O ense Together

Once your players have learned the basic 4 progressions of 5-out motion o ense,
you’ve established a fantastic primary o ense that will teach them how to read and
play the game of basketball.
Now that they can con dently perform all the actions, the next important step is for
players to work out what actions work the best for them and their teammates.
For example:
• Players will work out that the best players to set on-ball screens for are the quick
guards who make great decisions.
• The best players to away screen for are those that cut hard to the rim and can
nish the layup or close shot.
• The bet shooters on the team should primarily set away screens so that they’re
cutting back out to the basketball for the open shot.
While a lot of this knowledge will develop with experience, I believe it’s important
for the coach to talk to the team and each player individually about what they’re
good at and what they need to improve on.
Doing so will help their decisions when running the 5-out motion o ense during the
game.

Advanced
Flex Action Progression
Once your team has mastered the basic progressions of the 5-out motion o ense,
you can choose to add a more advanced ex cut progression.
This is best used on a pass from the wing to the top of the key and can potentially
give you an open layup o the ex cut or an open jump shot o a down screen.
Here’s how it works:

1. 2 makes the pass to 1 at the top of the key.

2. After making the pass, 2 will basket cut as usual. But instead of lling to the
same side, 2 sets a ex screen for 5.
3. 5 uses the ex screen and cuts through looking to receive the pass for the
layup. If 5 isn’t open, they simply cut all the way through to the corner as 4 has
moved up the wing to replace 2’s spot.
fi
fl
fl
fi
ff
fl
ff
ff
ff
fl
ff
ff
fi
ff
ff
 4. 3 then sets a down screen for 2.
5. 2 uses the down screen and pops out to the perimeter looking to receive the
basketball for the jump shot.
6. 3 can reverse pivot and seal 2’s defender if they have a mismatch inside. If not,
3 lls the closest corner.
Even if the o ense doesn’t get a great look from the ex option, you will notice
now that all ve spots are now lled and the team can move on to the next action
of the o ense.

Variation – Cutting Through the Nail

Another variation of this o ense I wanted to share with you is the option to ‘cut
through the nail’ every time a player cuts to the top of the key.

This is most commonly seen in Bob Huggins’ Open Post Motion o ense.
Instead of lling to the top spot just like any of the other 4 spots, players are
required to L-cut through the nail.
Note – The ‘nail’ is the spot at the very middle of the free-throw line.
When players cut through the nail, they’re required to decided whether to back
cut or to pop out to the top spot depending on how their defender is playing them.
If the defender is denying them from receiving the basketball, the player must
immediately back cut and then ll the weak side corner.
If the defender is playing o them, the player cuts out to the top spot to receive the
pass.
fi
ff
fi
fi
ff
ff
ff
fi
fi
fl
ff
By implementing this variation to the 5-out motion o ense you will achieve two
things…
1. It will take away the defenders ability to get a de ection which leads to the
opponent’s fast break.
2. It can lead to some easy scores o the back cuts.

Getting the Basketball to the Post

The best way to get the basketball inside to players who have a mismatch is to
allow those players to establish quick post up position after every through the key.
The player posting up is only allowed to hold this position for 1 – 2 seconds before
clearing out if they don’t receive the pass.

This ensures that the 5-out motion o ense continues to run smoothly.
To take advantage of this mismatch, it’s important that players with the basketball
are looking at cutters to take advantage of the 1 – 2 seconds that they secure
inside position.
ff
ff
fl
ff
 Posting up isn’t restricted to your biggest players. Any match up on the oor with
an advantage in the post can use this technique.

Transition Defense and Rebounding

One thing a lot of coaches will nd confusing is that since all our players are
standing outside the three-point line, who’s going to rebound!?
The answer to this question will depend more on the personnel on your team and
how aggressive you want to be rebounding the basketball.
I’ll give you three options. Pick the one you like the most depending on your
coaching style and players on your team.
1. The point guard always plays safety. The other four players crash the
boards.
2. The point guard and shooting guard always play safety. The other three
players crash the boards.
3. Everyone below the free throw line rebounds. Everyone above the free
throw line plays safety.
What you’ll quickly realize is that the 5-out motion o ense can lead to a lot of
o ensive rebounds as long as your designated players are willing to work hard for
them.
By starting on the perimeter when a shot is put up, it’s incredibly di cult for the
defense to box out an o ensive player with a running start.
If you have any tough and athletic players on your team, expect them to grab a lot
of o ensive rebounds!

Conclusion
The 5-out motion o ense is a great o ense for any basketball coach to learn and
implement with their team.
Being a very common o ense, even if you don’t use it with your own team, it’s
important for all coaches to learn about so that they know how to defend when
playing against it.
It allows players to practice all skills, gets the whole team involved, and can be
easy to teach as long as you’re using the right progressions and not trying to
implement the whole o ense at once.
Any basketball coach who uses this o ense will know they’re improving their
players!
ff
ff
ff
ff
ff
ff
fi
ff
ff
ff
ffi
fl