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Not sure what you’re asking. PAL like NTSC is a television system, not a codec. You’d find HDV in both PAL & NTSC. Do you want to end up in PAL or NTSC (1080i60 implies NTSC)? And if you want to end up with an HDV 1080i60 what codec is the original (DV, DV50, etc.)? You might consider doing the transcode in Compressor.
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Also, see Ropple Training Solution.
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Have you checked your “Purchased” tab in the app store?
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Source Timecode is a free FCPX plugin from CoreMelt that now works.
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In FCPX you can apply the built-in LUTS by selecting your clip, then looking in the Inspector. Be sure to select Settings. Then you will see the Log Processing tab. It will give a number of build-in optional LUTS. If a LUT works for you, you can select all your files and assign the LUT to all of them at once.
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Checkout Izotope. I think they have a loudness program. Also, Waves. I’m not sure if either run on PCs.
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Another way of using a compressor is to apply it to the music track(s) and use side chain keying that “listens” to the dialog track to the compressor. Then, the compressor is keyed by the dialog and “ducks” the music. This can be very effective if used carefully. You don’t want to hear the ducking. You want the dialog to fit nicely into the music.
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We’ve done a bunch of voice recording the ADR for animated shows. Each voice actor was recorded separately and various takes were recorded of each cue. Often, the recording sessions happened in various cities. Production then cut it all together so animation could be done against that track. After the animation was locked we’d do ADR of various lines where intention, emotion, etc. didn’t match to another character’s performance. Also, efforts (screams, grunts, laughs, etc.) were never recorded until ADR.
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AFAIK, URSA doesn’t “output” RAW from any BNC connector. It records it internally to CFast 2 cards, or this SSD adaptor which replaces the CFast 2 cards.
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RAW would be recorded to the SSD and you’d copy the SSD RAW data to your NLE.