On the big soccer shows a director's spotter really helps for things like subs, cards, corner kicks, etc...

I agree brane. I have done both seperately many times and have recently began doing both simultaneously mainly for basketball though. I think it will be fine, my only concern was I am used to the Kalypso and this truck is using a 3k ( i originally thought it was a 4k). Thanks everyone for your input and please keep it coming if there is more.

As someone who used to do that a lot (but in the bad old days, not much recently), my recommendation is to set your switcher in a way that you're so familiar with that you don't even have to think about what's where. Especially since you've never directed soccer, put yourself in a position to concentrate more on directing the game than on switching it. I don't know how much directing you've done in general, but trying to switch an effects-heavy show while calling it too is not an easy trick.

Normal MLS and other shows use a game, tight, low mid field and two 18 yard cameras, one left, the other right, HH on the field and usually an end zone hard. Additional cameras may be high EZ, second HH, net POVs, robos, etc... Those 18's are for offsides, BIG thing in soccer. Some of the directors I have worked with will cut from game to the low midfield rather then game to tight. Substitutions are big, since each team gets only two or three subs per game, as are yellow and red cards. Most directors have one camera always get the ref IF there is a foul because that is when they could "card' a player. Red card means ejection and that player's team plays one man down. Two yellows to the same player in that game means ejection. Many clients want a clean record for archives.

How are you handling breaks? That's the biggest deal. Make certain you're set-up is ready to go at air, because it's a little tougher to change things once you air.

We can't really say how to setup your board unless we know what you're dealing with. In terms of directing, I'd say start by thinking like a hockey director and go from there. Player substitutions are a bit more of a big deal, you typically want to ID them. Game cam is a bit wider, soccer fans really want to see the overall play, even if you end up turning players into dots. The good camera spots go something like this, pick and choose depending on number of cameras available: Centerfield game + high tight is a must High 20 yard lines (think football) shooting somewhat wide for replay, and getting you tights during stoppages. High endzones. A low hard cam on the center field line shooting fairly tight for ground level shots. Alternately, two placed in the middle of the two halves of the field. A handheld or two behind the nets or covering corner kicks. If you do the low hard cam, you can put that on one half while the handheld covers the other half if you want. If you do this, a steadicam works really well, because he gets to rest when the ball's not on his half.