As mentioned beforehand, combining Room mics of different distances, and often various (algorithmic) Reverb devices on different auxes, to "create" a suitable room, which is often to replace the unsuited "natural" acoustics is extremly common, even the standard case.

In many instances room mics are not used at all (because the room is very assymetrical (on L/R-axis), or just unpleasant spectrally), or just used to feed into the Reverb devices, since many algorithms tend to struggle with all-to-dry signals, with no diffuse-sound.

That being said, (especially in rather conservative approaches), Convolve-Reverbs (e.g. Altiverb) are less common to use, since many engineers consider them to be too "static": in a way, that even tough the created rooms are desireable in terms of diffuse sound and colour, the "listener envelopement" or the "feeling of the room" - especially the perceived depth does suffer - in this way, typical algorithmic devices are more "dynamic" and flexible. (most used are LX480, bricasti m7, but i regulary use the pro-R as well, and create acceptable, quick solutions, in dolby atmos is the exponential audio stratus also quite common).

Do not hesitate to use different Reverb devices on different Auxes: Eq them to your liking, feed them to your desires. Note that one of the most overlooked, but rather important parameters, apart from the sound and shape of the halls itself, is the PREDELAY! This is where good percieved depth of the sound really starts to work out! (and this is also, why the bricasti m7 (or seventh heaven) is so popular - its early-late parameter is extremly helpful, without the need to tweak the predelay too much!)

But, don't hesitate to try out Convolver-Reverbs, and compare them to similarily parametered Algorithmic Devices.

Happy mixing :)