Conversation With Jib Operator – Rachael Hastings Adair.  

Hello, my name is Dave Rosen. I am the CEO and tech producer for Absolute Media Labs. I recently had the chance to sit down with one of my favorite crew members and collaborators. She is our go-to jib operator, an exceptional Director of Photography, a camera department head who leads our crews on major productions like Paris Hilton and IGN, and a phenomenal producer—not to mention a great friend.
Here is our conversation highlighting her career, craft, and technical expertise.

Dave Rosen: You’ve built an impressive reputation as a jib operator. How did you first break into operating jibs?

Rachel: I was operating stationary cameras at the back of live event venues, watching the jib sweep across the room, and thought, that looks creative, dynamic, and fun—I want to learn that. The current jib operator was transitioning into directing and needed a replacement. I offered to put in the hours, practice relentlessly, and learn the rig. He mentored me, taught me the mechanics, and I’ve been operating ever since.

Dave Rosen: How long have you been flying jibs on live shows and productions?

Rachel: Nearly twenty years now.

Dave Rosen: Beyond the jib arm, what does your broader production skillset look like?

Rachel: I work actively as a Director of Photography, camera operator, and producer-shooter. For years, I’ve handled both sides of production—navigating logistics, travel, crew management, and scheduling, all while running camera and executing the visual direction.

Dave Rosen: You also bring deep international production experience. What does that scope look like?

Rachel: I spent roughly fifteen years traveling almost continuously, logging over 100,000 flight miles a year shooting short-form documentaries, PSAs, and live events. I’ve worked in all 48 continental states and filmed in 70 countries worldwide.
Dave Rosen: Operating overseas presents unique challenges. How do you manage high-stakes, remote locations?

Rachel: It requires proactive problem-solving. You’re managing international carnets, customs clearances, local film permits, cross-cultural team dynamics, medical protocols, and basic infrastructure needs like reliable power or water. Whether I’m brought in as an international producer to handle those complex logistics or strictly as a camera operator/DP, that field experience ensures our team operates safely, efficiently, and on schedule.

Dave Rosen: You’ve collaborated with Absolute Media Labs across several flagship productions, including shows at the Dolby Theatre and the Greek Theatre. What were those builds like?

Rachel: At the Dolby Theatre, the client wanted an Oscar-level production aesthetic on a realistic budget. We reverse-engineered the broadcast setup, which included engineering and assembling a 34-foot jib spanning three balconies inside the Dolby. We also paired with Michelle, a retired Navy Chief trained through the Vets On Set program, who served as our jib tech. At the Greek Theatre, I served as camera lead for a multi-camera live stream broadcast to over a million concurrent viewers. My focus was orchestrating the camera crew, structuring tight load-in and load-out workflows to eliminate overtime, and maintaining broadcast-quality visual standards that the audience noticed and praised in real time.

Dave Rosen: You mentioned Vets On Set. How does that program integrate with live production crews?

Rachel: Vets On Set is a nonprofit initiative that creates direct career pathways in media production for military veterans and veteran spouses. Working with trained veterans like Michelle on major jib builds and live broadcasts demonstrates the caliber, discipline, and technical capability this community brings to professional sets.

Dave Rosen: What projects and initiatives are on your radar next?

Rachel: Beyond upcoming narrative pilots and feature-length documentary projects, I’m teaching cinematography workshops for university programs and Blackmagic Design. I’m also continuing multi-camera and jib work with Absolute Media Labs—we actually just wrapped a dynamic live dance shoot on the jib.

Dave Rosen: For productions looking to field a jib package, how do they get you and the gear on set?

Rachel: Production teams can book the jib package directly through Absolute Media Labs or connect through the Vets On Set platform. That provides a turnkey setup: full broadcast jib hardware, myself as operator, and our Vets On Set technician handling transport, build, and technical safety.