Spatial Audio Acquisition - Industry emphasizes recording Ambisonics spatial audio from the camera's perspective, especially in documentary filmmaking, to capture the entire sonic environment [7] - Industry suggests using mono recordings in addition to spatial recordings for dialog, prioritizing individual mics due to the wide field of view in immersive experiences [13][14] - Industry highlights the availability of various ambisonic microphones with similar form factors to regular shotgun microphones, offering options for different needs and budgets [10] Sound Editorial - Sound editorial involves assembling and layering dialog, sound effects, and music, similar to standard post-production [15] - Industry recommends using Foley and Ambiances to build immersion by focusing on small, everyday sounds [19][20] - Industry suggests compiling and assembling all sound sources, including multiple spatial mics and individual mono ISOs, during sound editorial [18] Spatial Mix - Industry advises anchoring sounds to visual elements using Apple Spatial Audio instead of relying on a center channel, as the audience is inside the scene [26] - Industry recommends mixing on headphones to ensure the mix translates well with regards to perspective and dynamic range [30] - Industry stresses the importance of reviewing work on Apple Vision Pro to accurately judge distance, perspective, and sound positioning [31]