Any questions you have about what you are doing during string changes are answerable with your phone. Place it closer and film, preferably in good light (reflected light near a window is great for this) and using 120fps or 240fps.
When you play a downstroke that goes from a lower string to a higher one, does the pick go over the top of the higher string? When you play an upstroke, does the pick go below the strings, and occasionally even contact (rest stroke) the string that is immediately lower than the one you are playing? If both of these are true, then you are upward pickslanting.
If the pick hits any string during string changes, you are “swiping”, which is covered extensively in the Antigravity seminar. You can swipe as an upward pickslanter or downward pickslanter, though upward pickslanters tend to swipe on upstrokes, and especially when descending strings, since that is the “trapped” pickstroke.
If you mostly use upward pickslanting, but the pick also goes over the lower string sometimes when you play a descending upstroke, like the upstroke you play on that one string change in this clip, you might be using two-way pickslanting or crosspicking. Terminology can start to overlap here but Andy Wood is a great example of both of these tendencies.
No matter which of these various things is happening close up in the camera at the level of individual string changes, what is important to understand, if you step back a few feet and just look at the way you hold the guitar, is that you have already made some big-picture choices with your arm position and hand movement that generally explains why you find some things easier than others.
Specifically, a pronated (flat against the guitar body) arm position, and deviation (side-to-side) wrist movement almost always leads to an upward pickslanting technique when these kinds of lines are played. Even if you’re swiping or swiping more than you’d like, the choice of this position and movement has already predetermined for the most part the types of lines which are going to work when you do them correctly. We can already tell as soon as we look at your clip, almost even before you start playing, more or less what the possibilities are for what is actually going on in your technique, just by noticing your macro setup.
That’s the big picture, i.e. you are set up like a uwps player, like Andy Wood and John McLaughlin, and the rest of it are fine points you can look at up close with the camera when you get a chance.
