@ Frank S:
-Well, of course, but AFAIK they made a few odd decisions while trying too look professional and busy:

-Why would you make the scene look like the train is backing out,
(which inevitably will be the result when dollying forwards to the front end)?
-If you have to keep that direction of travel - why not start a few cars further down the train,
lessening the risk of having the loco in the last frames?
-Why take a few man-hours laying the track all the way up to the loco?

These shots usually ends in the train vanishing outta frame, the person standing still and staring at the last car. CUT.
Jump-cutting from a moving train shot is a difficult skill to master.
The camera's framing musn't reveal that the train and all surroundings are still-standing,
and only "the heroine" is moving.

-Why having a bouncer board grip working in the shadow, also blocked by some walk-in cell-phone user?
A soft fill light next to the tracking camera would've get the job done.

-What's the guy hunkering on the dolly even doing? Just holding the cam & actor dollies together?

-Why even have a mike boom sound man in a seemingly non-speech scene?
To preserve the dolly creaking on its tracks? Post-sync'll drown it out with diesel sounds.

Many questions and instant decisions is all in a day's work on a set.