Kind of similar here, except a European experience. Was lucky to get trained up as a dubbing mixer as we call it here from a very experienced mixer that was travelling up to our rural location from London every other week. Did 6/7 solid years of work on lots of TV stuff but mainly re-versioning cartoons and docs. I am quite an outdoorsy person though and found life behind the mixing desk and screen every single day wasn't for me. So I gradually managed to lean into the Sound Recordist route, building up first on an SQN straight into cameras and then moving on from there. I still do a company's post sound for them though and it really helps me earn a decent living all year round. Conversely it probably means I don't try quite as hard to get as much work as I can on the location side of things as other recordists around here though because I know I have that bread and butter dubbing work throughout the year, also the dates sometimes scupper some interesting location jobs I get offered. I also do about 70% of the post stuff from home and with covid probably even more as you are just sending on the mixes for reviewing themselves(which has it's own pitfalls!). It's a good mix for me and some directors/producers are impressed I can do both and appreciate the knowledge that comes with that, some don't care. As Philip says also, I feel I have a good understanding of what is acceptable dialogue recording in the field because I know what should be possible or acceptable when it gets to the dubbing mixer.