Glen Winter

About Glen Winter

Who is it?: Cinematographer, Producer, Camera Department
Other names: Glen Thomas Winter
Occupation: Television director, cinematographer, producer
Years active: 1994–present

Glen Winter Net Worth

Glen Winter was born, is Cinematographer, Producer, Camera Department. Glen Winter is a cinematographer and producer, known for Thi Tran Smallville (2001), Arrow (2012) and Nguoi Hung Tia Chop (2014).
Glen Winter is a member of Cinematographer

💰 Net worth: Under Review

Some Glen Winter images

Biography/Timeline

2012

In spring 2012, Winter signed on to another DC Comics produced series, Arrow. After starting as series Cinematographer, he segued to episode directing. His first effort was written by frequent collaborator, and DC Comics CCO, Geoff Johns. Entitled "Dead to Rights", the installment was met with fan and critical acclaim. He went on to direct second season episodes "Broken Dolls", "Blind Spot", and "The Promise".

2013

He served as the Director of photography on the pilot of Arrow's sister-series The Flash. He went on to direct the fourth episode, "Going Rogue", in which the supervillain Captain Cold is introduced. He next helmed the series' 8th installment, which features a crossover event with Arrow, "Flash vs. Arrow"; and the 13th "The Nuclear Man", featuring the exploration of the titular hero. During the latter portion of the season, he was named as Producer.

2015

In September 2015, it was confirmed that Winter would helm the pilot for the Arrow/Flash spin-off Legends of Tomorrow. The series focuses on a band of tag-team heroes and villains made up from the Arrowverse, traveling through space and time to stop the maniacal Vandal Savage. It was later confirmed that Winter would also serve as a Producer on the series. Winter said of directing the two-part pilot episode that he was most proud of a technically challenging battle involving The Atom. "He flies out of [Martin] Stein's pocket. [The creators] write, "Atom basically comes in and shoots up the place." I'm like, "Oh, my god. How am I going to do that? What is that? What does that even look like?" I decided I didn't want to do it in a bunch of cuts. I wanted it to feel like one flowing, big piece. I shot it on the camera car. I shot it on high-res at 6k. We did it in one take."