The bits that caught my eye the most were the same ones that you called out in your own comments (at 0:20 and 2:10ish). Looks a lot like something I sometimes do that’s sort of an upward or neutral pickslant from a fairly supinated forearm position. For me, that’s wrist flexion/extension with maybe a tiny amount of wrist deviation and a tiny amount of forearm rotation. For me the finger anchor below the strings is the key to making that work. And while I can do it without anchoring the heel of the hand, I find it works best for me when I anchor the heel (middle-ish of the heel (slightly to the ulnar side) resting on the saddle of the low E string, and maybe extending somewhat onto the other saddles).
There were places where I noticed a lot of the (Yngwie-inspired?) finger movement you and Troy have talked about, though it doesn’t seem to cause anything negative to happen.
Only thing that popped out to me as possibly a problem is there were places where it seems like that heavy purple T3 is “grabbing” on the non-wound strings on your sweeps, not in the sense of “failing to clear the string” but in terms of how the pick attack sounds as the string glides off the shoulder of the pick. Your execution of the sweeps seems fine to me, though I wouldn’t consider myself a sweeping expert, just maybe a different pick would make the sweeps on the non-wound strings sound less “scratchy”? That’s wandering into serious nit-picking territory though, and might just be a personal aestheric hangup of mine, since I think I’ve heard it from guys like Yngwie too.
Ha! Read the rest of your comments and saw what you said about the rusty string. Never mind. LOL
And in terms of advice, if you feel that excited about what you saw/heard/felt at 2:10, spend some time focusing on just trying to recreate that while it’s still relatively fresh in your mind. Let other technique stuff fall to the wayside for a bit so it won’t interfere with wrapping your head around what you’ve stumbled into. Focus on replaying the lick that made it happen, and on doing variations that let you work that same technique. You want to try to develop the ability to recreate the thing that felt right, and repetition of that thing without cluttering your mind with bunch of competing ideas and movements will help you hang onto it, instead of having it fade away on you.
I think an important part of making progress is latching on to things that “feel right” and not letting them get away from you. If something seems to be working, do your best to recreate it as much as you can, and even do little adjustments on it to try to get a feel of the how to do it that way on command. If possible, try to work on recreating it first thing when you wake up and last thing before you go to bed (in addition to whatever other time you spend on it). I found that’s a way to “hold onto” something longer to turn it into something permanent even if I don’t understand it well enough to verbalize how it works at the time. And don’t be afraid to write notes to yourself that you think will help you remember it. Even if you have it on video, the thoughts that occur to you at any given time about how it feels or what your intentions were while you were doing it are things that can evaporate if you don’t write them down (or record them as an audio/video diary, or whatever; point being don’t take for granted that you’ll be able to remember your interpretation and insights from today in the future).