I just punched week two of a 6 week job on the set of a television series that's airing on CBC in the spring. I'm the sound assistant, which basically means that I run cables (two very long audio cables to cameras, and as many xlr's as needed for the boom), pick them up again when the cameras move, and string them again. I get stuff for the recordist when something's left in the van, go for coffee/refreshments, and hang around the boom operator when rolling. I even operated second boom a couple of times so far.
It came up at just the right time, as I am seasonally employed elsewhere and currently broke, so I'm not complaining at all. It's just that it came about as a result of my having brought a resume to the producer in an attempt to procure some scoring work....so:
On set work has NOTHING to do with post work!!!!! Other than a paycheck and free meals (and of course the networking opportunity that I'm so hungry for), what the heck am I getting outta this!?!?
I didn't realize the distinction when I signed up, and I would still do it if I had my time back, but I don't plan to work on set again after this is over. If you call me to work on your film I will do post or nothing.
Does anyone out there have comments on this type of situation? I'm very curious to know if any composers out there got ahead by working on set. I've already made a couple of potentially valuable connections, and plan to squeeze as much good outta this as I can. But it'd sure be nice to hear some as-yet-unthought-of pros to this predicament.