These are based around the idea of some of the voicings, but they're not correct. Or rather, they're not consistently sticking to those scales. For example in 'Harmonic minor Lick B', it has both a M7 and m7 in the pattern. So it's actually loosely based off of a melodic minor idea rather than a harmonic minor. 'Diminished Lick C' borrows from some diminished intervals, but it's not a diminished scale. A diminished scale is a symmetrical scale of alternating whole and half steps, and he abandons that by the end.
Here's the tricky thing, you can make any scale or mode
shape sounds like any mode. If you play a G Major scale over a G Major chord it'll sound like the Major scale. Play it over a big distorted B power chord and suddenly you're playing Phrygian. B is really your root note, but you can wind up to it with the G and A notes proceeding it. Play the same scale pattern over a C chord, and suddenly you sound like Steve Vai and are playing Lydian. So it can be a little confusing as you expand the modes and connecting scale patterns out over the whole fingerboard, and usually takes my students several weeks for it to click, but once it does they're ripping all over the fingerboard in any mode and key once they can visualize the fingerboard like a highway with all of the exits you can take to get to any city or town (scale or mode) that they want to. So unfortunately, the starting note of a pattern doesn't necessarily indicate the key. I'll often start a phrase on a chord tone, so in say the key of Em, I might bend an F# note up to sound like a G note to begin a phrase, or start a Locian
shape as a big shreddy windup to a passage, but I'm not in the key of F# Phrygian, I'm still in E Aeolian (natural minor).
How's that for a long answer?