For a while now I’ve been using two bodies when doing production photography. One with an 28-70mm lens, the other with 70-200mm. This allows near instant switching of angles from stage-wide to actor close-up.
Here is the post-production strategy I have evolved to handle the potentially larger number of pix from twin sources.
I ensure the cameras’ internal clocks are matched to within a second before each shoot. We’ll see why later.
After the shoot I import the pix from the first camera into Lightroom using the automated image renaming facility to be in the format YYYYMMDD-2NNN, i.e. date then sequence number, e.g. 20130413-2000.
Then for the second camera I set the format to be YYYYMMDD-3NNN,and import them into the same folder. So, as long as I shoot fewer than 999 pix per camera there are no problems.
In Lightroom I then set the display order to be by capture time, which seamlessly integrates the pix from both cameras into the sequence in which they were taken.
After selecting and post processing the final set of pix for delivery/upload I typically will renumber this subset to have a new contiguous sequence range starting at <DATE>-4000. This helps to ensured that when sorted by file name the pix remain in the order in which they were taken.