Well, two matching cameras doesn't work for me, because the other one has color film in it. With the 4X5 view camera, I could hypothetically carry as many roll backs as I wished. But none of my MF gear has interchangeable backs. No big deal. I have no problem getting all the shots on the same 120 roll to print efficiently. I just choose a versatile enough film, with a suitably long straight line for the variety of lighting ratios I'm likely to encounter (generally TMax, though I've got Acros in one of my cameras at the moment). I almost always develop normal, and then resort to the excellent VC papers available these days. Seldom an issue. If I need to pull out a roll before it's entirely used up, it's most likely to be due to some fast water motion or windy handheld circumstance where I really need 400 speed TMax instead of 100.
What I DON'T recommend is the moth-eaten old advice of AA to minus develop rolls to handle the potential variations in contrast. Nor do I subscribe to Barnbaum's awful habit of placing the shadow threshold way up on Zone III, which outright forces one to resort to either minus or compensating development to tame the highlights, and risks scrunching all the life, intervening sparkle, and delicate texture out of what lies in-between. Of course, these two practitioners had other ways of reviving things, perhaps a special darkroom defibrillator. With Barnbaum, it was an addiction to Farmer's Reducer to get the bland out of the upper values in the print. But it seems a backwards approach in the face of better options today. I do keep Farmer's Reducer on hand; it's a useful tool at times. But as a substitute for trusting the native film curve? - Naah, or you either own a miserable meter or are using the wrong film to begin with.