Everything the studio can draw, rendered statically from the board core. The pitch stays on
the paper stage in both site themes on purpose: it is what makes an exported deck look like
the videos.
Pitch views
One pitch, five crops. A 4-3-3 against a 4-4-2, placed by the formation bands. Check that
the markings line up and that neither team is stranded on the wrong side.
Full pitchBoth goals, end to end.
Full pitch (upright)Both goals, played up the screen.
Two thirdsDefensive third to their goal.
Their halfHalfway line to their goal.
Our halfOur goal on the left, danger arriving from the right.
Their boxClose in on the penalty area.
Attacking set pieceTheir goal at the top, the whole width in front of it.
Defending set pieceOur goal at the top, the ball arriving at it.
Training gridA coned 30 by 20 area, with grass round it for the goals.
The full vocabulary
Cues, all five arrow intents, a block band that follows its players, a danger zone, a named
counter, dimmed opposition, the ball.
Bibs
One side, four colours. The keeper is in a bib of their own, six outfielders are split
between two more, and the four with no bib are still in the team kit. Check that a bib is
the same object as a kit — same rim, same shaded underside, same highlight — and that the
label on the near-white keeper's bib has flipped to ink.
Act → act
The same two acts sampled at 0, 25, 50, 75 and 100 percent. Nobody keyframed this: the
coach posed two boards and the ids did the rest.
0%
25%
50%
75%
100%
The camera
The same two acts as above with camera: 'follow' and nothing else changed.
Left: what the editor shows while posing — the whole view, with the shot outlined, so
nobody is dragged somewhere they cannot be seen. Right: what the film frames. Check that
the frame holds the ball and the cued player, that it never opens a strip of void at an
edge, and that the strip below travels rather than cutting.
Phase 1 — posing
Phase 2 — posing
And the same thing stood on its end. The frame must sit around the ball and the arrow, not
square-on to the wrong axis — see the note in the source.
Upright — posing
Upright — framed
0%
25%
50%
75%
100%
Formations
All 26, our side only, on the full pitch.
4-4-2Two banks of four. The reference point every other shape is described against.
4-4-2 diamondA 6, two 8s and a 10. Owns the middle, concedes the flanks.
4-3-3One holder, two 8s, a front three holding the width.
4-3-3 double pivotTwo sitting, one 10. Safer in build-up, slower to arrive in the box.
4-3-3 false 9The 9 drops between the lines and the wingers attack the space behind.
4-2-3-1The modern default. A protected back four and a 10 in the pocket.
4-1-4-1A mid-block shape: a screen in front of the four and a bank of four ahead.
3-5-2Wing-backs supply all the width. Overloads the middle, exposes the flanks in transition.
3-4-3A front three plus wing-backs. Five attacking lanes as soon as you win it.
3-2-4-1 (box)The possession shape: a back three, a double pivot, and a box of four ahead.
5-3-2A low block that keeps two up. The wing-backs drop into a five without the ball.
5-4-1Two banks, five and four. What a 3-4-3 becomes when it defends deep.
4-2-3-1 narrowThe 4-2-3-1 with the wide men tucked into the half-spaces. Full-backs supply the width instead.
4-4-1-1Two banks of four with a second striker dropping off the front man. The classic British counter shape.
4-5-1A flat five across the middle. Hard to play through, and a long way to the striker when you win it.
4-3-1-2No wingers at all. Everything through the middle, and the full-backs have the whole flank to themselves.
4-2-2-2 (box)A double pivot, two in the pockets, two up. A box in midfield without giving up the second striker.
4-2-4Four across the front, two to hold everything behind them. All the width and none of the cover.
3-4-1-2Wing-backs for width, a 10 between the lines, two up top. Congests the centre on both sides of the ball.
3-4-2-1Two in the pockets behind a lone nine. The shape that presses in a 5-2-3 and attacks in a 3-2-5.
3-1-4-2A screen in front of the three, then a bank of four. Built to win the ball early and go straight to the two.
5-2-3A back five that still presses with three. What a 3-4-3 looks like the moment it loses the ball.
WM (3-2-2-3)Herbert Chapman's answer to the 1925 offside law. The first shape with a centre-back in it.
2-3-5 pyramidThe Victorian default, and the reason the shirt numbers run the way they do. Five forwards, two at the back.
3-4-3 diamondCruyff's Ajax and Barcelona: a back three, a diamond in midfield, a front three holding the touchlines.
Blank: place your own XIEleven counters waiting on the touchline. Drag each one where you want it.