Behind the lens: masterclass with DOP Eben Bolter – seeing storytelling through light and movement

MetFilm School London recently welcomed acclaimed cinematographer Eben Bolter for an inspiring masterclass that brought students face-to-face with one of the industry’s most exciting visual storytellers. With credits including the BAFTA-nominated The Last of Us (2023), the TIFF People’s Choice Award-winning The Life of Chuck (2024), and the Emmy Award-winning series Slow Horses (2024), Bolter offered invaluable insight into the craft, collaboration, and creativity behind some of today’s most celebrated screen work.

From photography to the big screen

Eben began by sharing his unconventional route into cinematography. Originally working as a photographer, he spent time living in Japan where he began experimenting with recording moving images alongside his stills work. That curiosity gradually evolved into shooting an extraordinary number of short films – a period of intense, hands-on learning that helped him develop both his technical confidence and visual voice.

His message to students was clear: there’s no single ‘correct’ pathway into the industry. Exploration, experimentation, and making as much work as possible are what build momentum.

A dream project: The Last of Us

Speaking about The Last of Us, Eben revealed he had been a big fan of the original game long before joining the series. In many ways, working on the adaptation was a dream job – an opportunity to help translate a deeply cinematic gaming experience into a live-action world.

He discussed the responsibility that comes with adapting beloved source material, particularly something with such a devoted fanbase. Rather than focusing on spectacle alone, he explained how the series prioritised emotional authenticity, ensuring the visuals always served character and story first.

Craft over kit

A central theme of the masterclass was storytelling through visual language. Eben emphasised that cinematography is about shaping emotion through light, composition, and movement – not simply operating high-end equipment.

Drawing from his work across television and film, he highlighted how restraint can often be more powerful than technical flourish. The goal, he explained, is to create images that feel truthful to the narrative world rather than overly stylised for the sake of aesthetics.

For students, this was a powerful reminder that creative intention outweighs gear, and that strong visual storytelling begins with understanding the emotional core of a scene.

Collaboration at the heart of cinematography

Eben also spoke candidly about collaboration – from early conversations with directors and production designers to navigating the realities of large-scale productions. Cinematography, he stressed, is never created in isolation. It’s a continuous dialogue between departments, each shaping the tone and texture of the story.

He encouraged students to see every project as a learning opportunity, emphasising that building strong creative relationships is just as important as refining technical skill.

Q&A: honest insights from set

The session concluded with an engaging Q&A, where students asked about balancing creative vision with production demands, maintaining consistency across episodic storytelling, and finding a personal visual style.

Eben’s openness and enthusiasm left a lasting impression. His journey – from photographer experimenting with moving images in Japan to shooting some of the most talked-about projects in recent years – resonated strongly with aspiring filmmakers in the room.

Masterclasses like this are a cornerstone of the MetFilm School experience: offering students the chance to hear directly from working industry professionals who are actively shaping contemporary cinema and television.

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