2. When completing research we decided to watchthe documentary: WW2: OperationMincemeat, whilst watching we took notesdetailing the goings on onscreen. This will helpus to decide what we need to include in our fiveminute extract and what is not necessary. 3. Operation Mincemeat The documentary opens with an establishing shot of a museumstair case, this continues to a pan down of the stair case This then fades away to a dark hallway with doors, and a lightshone over door A pan up into a tight close up over number 13 on a wall, voice ofGod starts There is a cut to on screen presenter stood in front of the doors inthe corridor, however it is better lit Presenter discusses about the meaning of having the room in theshots and its relation to the main plot of the story There is a dolly into the presenter before cutting to a black andwhite photo of a man whom is being spoken about, meanwhilethere is a continual dolly in. 4. There is then a cut to a pull focus on person typing ontypewriter. Then a cut back to medium close up of the on screenpresenter. It then continually dollys into the presenter. A jump cut to tight close up of re-enactment and pullfocus of typewriter. It then fades to a tight close up of a typed document. It then fades to a pan across a sentence of what thedocument is saying and what is being read by the voiceof god. 5. jump cut back to the woman on typewriter tight close up of the womans face, with a pan upand then jump cut back to letter tight close up of letter and dolly in cut to on screen presenter sat at desk talking tothe camera dolly in towards the presenter until in a mediumclose up cuts to black and white map, conveying Nazisshown through swastika 6. There is an animated map with a zoom in of Italy onthe screen. Then the camera zooms out to show othercountries. (1:35) Animation continues until a cut to archivefootage of Hitler and his soldiers and their equipment. Archive footage and animation lasts for 1:04 minutes,with voice of god. Fade to a swastika waving in wind before on screenpresenter returns with a close up. Eye line match from presenter to map. Camera follows his hand over map, pan. 7. Cut to a medium long shot of the presenter stoodbehind a desk. Cuts to another destination of monumental buildings Pans the landscape on a 180 degree angle. Cuts back to archive footage, in black and white.(cleardistinction between footage) (0:04minutes) Cuts back to the monumental destination, beforeanother jump cut to more archive footage(0:04minutes) Jump back to large building, and then another jumpcut to a busy London street in a pull focus. 8. Jump cut to a black and white photograph, this dollys intoward the camera (0:17minutes) Cut to an interview with an elderly woman, tight close upto medium close up. Her name appears on the bottom ofscreen for the audience to see. Cuts to older photographs of interviewee (black and white)dollying out of image in to a medium close up. Cut to archive footage (total photo and footage0:15minutes) Cuts back to interviewee (medium close up of womanspeaking direct to camera) Cut to another archive photo, dollying out of photo beforeanother cut back to interviewee in a tight close up. 9. Cut to a dolly in on another photograph. Dollying on to a couple in a car, becomes a tight closeup of the pair. Jump cut back to woman speaking in a medium closeup, before another jump cut to another black andwhite photograph. Dolly in on the old photograph of a man in militaryuniform (high status) Dolly in cuts to archive footage of a boat (0:08minutes) Jump cut to a new interviewee, old man. 10. Name appears on screen of the interview andhow he is related or linked to the story. Cut to another old photo.