Issue link: https://digital.copcomm.com/i/1518296
12 M PS E . O R G for Mark. His passion and focus were always directed toward sound effects. He had a deep desire to create sounds that defied the laws of nature, including aliens, monsters, explosions, and firearms. While other aspects of sound editing held their appeal, Mark's heart was firmly set on crafting intricate and captivating sound effects. Mark remembered a nail-biting experience while working on the Michael Jackson music video Remember the Time. At this point in his career, Mark had gained Wylie's trust and was tasked with recording various sounds independently. For this particular project, he was sent to the Wildlife Waystation in Santa Clarita to capture the sound of a roaring tiger, which was featured at the beginning of the video. Mark vividly described the encounter with a 700-pound Bengal tiger. Positioned behind a chain-link fence, he watched as a handler attempted to agitate the tiger into roaring by teasing it with a piece of red meat. The tiger's incredible power was obvious when it swiped at the meat, sending large chunks flying through the air. Mark was near the fence, recording the intense moments. However, the situation took a terrifying turn when the tiger suddenly locked eyes with Mark. He braced himself and leaned back with his microphone as the tiger lunged toward the chain-link fence, creating a heart-pounding and unforgettable recording session. Mark emphasized the intensity of the moment, underscoring the realization that without the fence, he would have had no story to tell. In the early 1990s, as digital technology was gaining prominence in Hollywood, Mark found himself transitioning from more technical aspects of the process and sampling sound effects into the computers, to doing more editing. Initially, he started by cutting backgrounds and working on various effects for scenes. They would often give him car scenes to edit, providing opportunities for him to improve his skills. Mark welcomed the critiques and kept refining his work until it reached a level where it was deemed suitable to send materials directly to the stage. During this time, Mark exclusively focused on editing feature films, which allowed him ample time to hone his craft. He continued to seek guidance from experienced editors at Soundelux, a small but up-and-coming facility at the time. As he became more proficient, he began sending his edits directly to the stage for the final mix, bypassing the need for Cary Grant Theater at Sony Pictures. Sitting L-R: Wylie Stateman, Michael Minkler, Scott Gershin, Gary Rodgers. Standing L-R: Dan Sharp, Dan Rick, Kim Waugh, Mike Wilhout, Chris Hogan, Mark Lanza, Bill Abbott. SoundDogs days L-R: Mark Lanza, Joel Shryack, Nancie Tracy, Mark Yardas (far right).