How to handle the transition

Some time ago now I discovered Psychic Distance and mentioned it on this blog. Now I've begun a new story and I find I keep rethinking who is telling the story. Is it him? Or is it her? I still haven't truly decided, and that makes my Psychic Distance hard to evaluate. 

The heroine is proving hard to pin down, whereas the hero keeps dashing about and is really in the action. I'm also wondering if PD  can or should change with the character. I like the idea that I can go really deep with the hero/heroine but don't want to do that with every character. My initial feeling is that secondary characters can be less deep. But does the reader agree? 

I think that when the secondary character is doing or thinking something really pivotal to the character or the plot, they should be given extra prominence and then sink back to being,  well, secondary again, in the same way we don't mention all the boring detail of getting from one physical location to another - unless it is of vital importance.

The thing is, that this sometimes makes me want to change POV characters and that leads to the thought that the trick with all this is moving graciously from one character to another. I don't always want to end a chapter or have a total scene break, so how to handle the transition? Don't want to be accused of the dreaded "head-hopping!" 

If I go straight from the hero's thoughts to the heroine's,  without a scene break of any kind, I sometimes confuse myself when I read the chapter back, so it is more than likely confuse the reader. But there must be a way of doing it successfully. I wonder - if I can come out of the hero's deep thoughts and let him observe the heroine's actions and possibly guess her thoughts; would that work? If I do it with care to signpost the way, surely it is feasible?

Travelling from  the hero's thoughts and feelings to what he does takes us from him; then a comment on the heroine that might or might not be his takes us a little further. Perhaps then attention will shift to the heroine and we will learn something about her from John, but not from her. Then something the heroine knows, but the hero cannot know because we have finally stepped out of his mind. Now we are in her mind, and the next move is to give us her thoughts and feelings about what is happening. Obviously, in practice this would follow a more gentle progression from one character to the other, but basically ..... it should work, don't you think?

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