The GEMA is by no means Germany's RIAA, more like Germany's ASCAP. It's a society that collects licensing fees for distributed and broadcasted music on behalf of the creators (but, as in this case, can also act on its own if it thinks that due fee payments are being evaded). The closest thing to a German RIAA would be the national section of the IFPI.
None of the things you mention (Cubase, Behringer monitors, small digital mixers) are particularly targeted towards film editing work. While PT arguably isn't aswell, it has its roots in the post production field, and has still the most features for this task, and is hence the most widespread solution amongst film guys. Ever tried to do any non-music-related post production work (e.g. foley, SFX or similar sound editing) in Cubase or Logic? Yes, it works to a certain degree, but it certainly isn't as smooth and elegant as in PT.
So while I agree that the academy should give some recognition to technologies enabling small indie film makers to do close-to-professional editing work (which most certainly won't happen, being the MPAA and all), it'd make little sense to randomly list any generic sound devices or software for the lone reason that you could also do editing work with them.
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The GEMA is by no means Germany's RIAA, more like Germany's ASCAP. It's a society that collects licensing fees for distributed and broadcasted music on behalf of the creators (but, as in this case, can also act on its own if it thinks that due fee payments are being evaded). The closest thing to a German RIAA would be the national section of the IFPI.
None of the things you mention (Cubase, Behringer monitors, small digital mixers) are particularly targeted towards film editing work. While PT arguably isn't aswell, it has its roots in the post production field, and has still the most features for this task, and is hence the most widespread solution amongst film guys. Ever tried to do any non-music-related post production work (e.g. foley, SFX or similar sound editing) in Cubase or Logic? Yes, it works to a certain degree, but it certainly isn't as smooth and elegant as in PT.
So while I agree that the academy should give some recognition to technologies enabling small indie film makers to do close-to-professional editing work (which most certainly won't happen, being the MPAA and all), it'd make little sense to randomly list any generic sound devices or software for the lone reason that you could also do editing work with them.