POV SWITCHING IS A BITCH... >__>

I'm interested in seeing how you handled this with some example text from your book, rather than an explanation. My book stuck to 3rd Person, though there were two main characters like this. However, it was my understanding that you change it up like this only if it is necessary to tell the story. Azn makes a good point that 'good writing' is clear and easy to understand.
If you continuously switch 'literal camera angles' like that you would need A) a good reason, and B) a very clear different style of writing. Mannerisms and inner monologue should be starkly different so that the switch is very obvious.

You gave the example there, and I personally see no reason to change perspectives to explain that character 2 is coming to the scene with character 1. It would work just as well to have character 2 enter the scene whilst still in character 1's perspective. Because it sounds like you're trying to express what each character is thinking, right? (correct me if no) and by taking the camera away from character 1, we are instantly missing out his thoughts or reaction. You could make this work great by using purely intentional perspective swaps at integral moments / thoughts.
For instance... don't give us the perspective of character 1 being jumped. Give us perspective 2 to start as he finds the guy being jumped. Because character 2's reaction to the situation would probably be more powerful and interesting to read about. Then, maybe when he goes to intervene with the situation, switch to character 1 and get his reaction or WHATEVER. I don't know what your book is about so. Yeah.

The point is; you as the story-teller must weave your words in a coherent and understandable fashion. You are entertaining your audience, and you want to keep your audience. By switching perspectives several times on one page, you may end up causing your readers to slow down. They have to keep track of who is who in the scenario already... but now they have the added task of decoding who is who in who's eye from what part of the stage etc. It almost becomes work, and the pacing will be shot to hell.

In the end, our words are just words. You don't need to follow this advice, because maybe this exercise or yours will turn out great! It's an artistic choice that you're making, so think long and hard about it before going full-throttle at this. And really take into account -why- you're changing perspectives. Like, you don't need to be in someone's head to know what they're thinking. Describe what the other character is doing or convey their mannerisms in such a way that the reader understands what they're thinking.

If I need to switch between POV's, which I do quite often whilst writing, I introduce the scene and try to get across the message -this is not the same character-.
Also '*' are my best friends. I use them to break up parts when I don't really want to create a chapter.
This could work for your idea. I remember doing it once, but not everyone was in the same situation. (It was a Heroes novelization =/)

However though two or more POV's can work, I don't know if your idea is really one for coherency. If you're telling a more abstract tale this might work, but your reader needs to know this is about to happen, that this book is going to jump a little, from person to person.

You've also got to consider what works better as a scene rather than portraying each character's thoughts. Sometimes not knowing what a character is thinking makes them intriguing. Maybe we'll find out the other character's thoughts when he reflects back in another chapter. There's plenty of oppurtunity for POV switching and elaborating other points in a book, it's up to you to use your best judgment to what would fit into your style of writing and the style of story. After all, it's your story.

Hoo boy.

I am still unclear if you are talking about third person limited, changing perspective characters between scenes (this is common as dirt in modern fiction, and was popularized by Stephen King and others; The Stand is a pretty popular and totally standardized example of this approach) or a quasi-omniscient third person where you switch perspectives within a scene without any kind of break (which is a more antiquated approach (as is third person omniscient in general). A Brian Lumley novel I'm reading right now from the 70s or 80s does this and it's slightly jarring, not in and of itself, just because it's so not the done thing today.

It is pure coincidence that both of the examples I just mentioned are trashy paperback horror.