Not exactly. For example, if you’re Mike Stern, your “dwps” motion is a wrist motion. And if you’re Andy Wood, your “uwps” motion is also a wrist motion. But their arm positions are very similar. So how are they achieving these different motion paths? With two different wrist motions. And this only makes sense. If they were using the same motion, with the same arm position, the pick would move the same way.
As others have pointed out, you’re using two different movements here. For the dwps side of this, you’re attempting something forearm-ish but if that is the movement you want to use, you might get better mileage with a gypsy-style approach like @Frylock is suggesting. I would also suggest trying a wrist motion. That’s the flat sideways motion, where the arm does not move, only the hand, in a very loose flappy side to side kind of way. With any of these motions, experimentation is the name of the game in trying to make them work, changing elements of your form to find a way that is fast and smooth right off the bat.
This clip looks pretty fast and smooth - good work there. Only critique is the tiny-ness of the motion. Is that something you’re going for or is that just what happens when you try and play fast? Tiny movements can sound quieter and more pick scrapey, especially on acoustic. You do want to have some dynamic capabilities - bigger attack, softer attack. You might try experimenting with a louder movement with more tone and less attack. Not so much a “bigger” motion, but a more full sound. You may find that thinking in those terms affects the motion and make it bigger without having to consciously think about “motion size”, which is more the result rather than the cause anyway.