From my self-proclaimed redneck reviewer Pat Patterson:

"...But while I was waiting for the reveal (which never came, because it's not THERE!) I found myself turning page after page, and DEVOURING the words, licking my lips figuratively at how delicious they were, and thinking: SHE CAN'T KEEP THIS UP! There is no way she can continue to let me walk around and see and hear and feel what the characters are experiencing; except she did.
Kary is CLEARLY a hero, by any criteria you want to apply apart from armed combat, and she is the center of the book. She lives in isolation in New Hampshire, and writes; she suffers from Chronic Fatigue Syndrome, and it robbed her of her previous career as a physician, and gave her weak/treacherous husband the excuse he needed to rob her of her family. She has other grief in her life, but she does not share the pain casually."

Kary, but also Bianca (the villain) or Andrew could be the hero.

I aim to let the reader inhabit each as they tell their part of the story, from their pov, what they see as important and worth noting.

It has made it possible for me to write, too, because I channel the character whose pov the scene is, and I'm subject to their focused pov when I decide what to describe or report.

The scene most often goes to the character most affected, but here and there I cheat because one character can tell something another doesn't see, and that's the part of the story that comes next.

I see the series as in omniscient POV but with the author/narrator choosing to be close to Harry most of the time. There are a few other spots in the series where Rowling focuses on someone else. I suspect the connection between Harry and Voldemort happened so she could stay as close to close third on Harry as possible, but still give the reader some info.

Tolkien is a master of what I call "the baton pass." One character comes near to another and that new character becomes the focus seamlessly. There are scenes where I'm trying to pull that off.

I agree, I think it will work. There probably are several other ways to do it but, I think, no matter what you use, as long as you stay consistent so the reader understands what you are saying and gets used to it, they'll get it and not even notice. It's often the abrupt changes that make it problematic.
Thanks for the comment!

That's the criteria for me too. Who has the most to say, tell, and lose.
Thanks for the comment!

I love to play with POV too. One of my students writes her scenes in every POV of every character and then chooses which one she thinks works best. Too much information for me -- and, my characters tend to take over in a scene so I don't get the chance to let anyone else talk, but an interesting way to play.
Thanks, Lisa!

Which is an excellent way to do it!

I believe that omniscient is one of the hardest POVs to write and to get right. Which is why it's so beautiful when we do get it right. And, of course, it really has little to do with what character we choose as our global storyteller, since the omniscient "god" is the one telling the story, not a character, and told from the outside, just relating what a character feels or thinks or says or does.
Deep POV is the opposite, where we live inside a character, at least while we reading the book.
Thanks for the comment! A good starting point for a long and deep discussion!