Two-shot

Interviews and podcasts lean on it, and so does any scene where the exchange between two people matters more than either line on its own. Keeping both faces in frame lets a viewer watch one person react while the other talks, which single coverage throws away. Composition usually leaves slightly more space on the side each person faces, and matched eyelines keep the geometry believable. For a two-person channel it also solves a practical problem: with one camera on the wide and one on each person, the edit can cut to the wide whenever the close angles get repetitive or a cut would otherwise show.