I also feel manual editing is a better option if it's enough to solve the problem. The choice of compressor may also be important.
More and more, though, I agree with Robin that the best approach is to keep working towards a good performance and recording and minimise the editing and tweaking.
Making different mixes for different uses used to be common in pop, club mix, radio mic etc., but for CG the only value seems to be music for sync. This needs to be more controlled than usual. But the music editor will deal with this issue unless there's a real problem. However. if a CG track is intended specifically for radio I can see a case for a little more compression than usual.
One issue is the lack of visual interest for recorded music. In a live performance we can see the player and follow wide dynamic changes quite easily, but too wide a dymnamic range can be disturbing for a domestic recording. I think perhaps this is part of the reason why older pre-digital recordings can seem less demanding on the ear and more comfortable, rather like old film compared to brutal hi-def. There's something comforting about a high noise-floor and early-onset overload, where digital can become a bit of dynamic roller-coaster ride.