Ross's goal was to maintain a level of truth to the imagery so that the audience would always feel grounded in the real world. His choice of camera for that was the Red Helium, which he'd previously used on Trust, the BBC Two/FX Network mini-series about the Getty family and the first project he and Boyle had collaborated on.

"I love the colour response of that camera," Ross says. "I often describe that it's like using a roll of Fuji film in 2005." He paired the Red Helium with a set of Panavision P-Vintage lenses, attuned to the fact that these lenses can be a bit quirky and don't quite have the same colour rendition or chromatic aberration as other glass of the same ilk that he's tried. He adds: "In a world where we are in control of everything, where everything matches and that's the hero of technological Utopia, I prefer the lack of matching. I think it's much more fun when there's a bit of a conflict from shot-to-shot; it makes the cut feel more real and slightly takes away from the artifice of filmmaking."

Among Ross's challenges for Yesterday were the many performance and concert scenes that take place - some only for a few moments - throughout the narrative. These encompass a street busking scene, pub gigs, a small concert in a Russian venue and quite bigger one at The Academy in Liverpool, all the way through to Wembley Stadium and then to the rooftop of The Pier Hotel in Gorleston-on-Sea on the Norfolk coast (the latter being an homage to The Beatles' final public concert, on 30th January 1969, from the rooftop of their Apple Corps building on Savile Row in London).

"I'd say those bigger concerts were the most complicated set-ups and shoots I've had to date in my career," says Ross. "Besides being technically rigorous and logistically tricky with all the approvals needed, the real challenge was to make it appear that you're not showing off. Lots of films with concert scenes of this magnitude might be more flamboyant, but this was just Jack, a guy on stage, performing, and that was part of his life at that moment."

The two concerts that dominated Ross's prep period were The Pier Hotel and the Wembley Stadium concerts. For The Pier Hotel rooftop homage, he referenced archival imagery and footage from The Beatles' performance on that day. And, since there were Dinos on that roof-cum-stage, Ross had Dinos in his set-up. With around 6,000 extras recruited to appear in the scene, Ross deployed seven cameras, using cranes swinging around in front of Jack, and even a helicopter unit, trying to put as much energy as possible into the images to best visualise the emotional rollercoaster that Jack was on.

"We did three takes of the song and a few takes of crowd beforehand," Ross says, referring to his team of operators and the helicopter unit. "Himesh did amazingly well. He is an accomplished musician and singer, having studied those throughout his school years. For every song in the film he's playing guitar and singing for real."