There was a lot of movement for both the actors and the camera. Considering that the room setting is relatively clustered with objects, Antonioni would have to consider where the actors should move to as well as the position of the cameras. Most of these shots had to have been planned beforehand, because of the series of tracking and panning shots that went with the actors’ movements creating some sort of synergy between the two. I thought this was quite evident at 1:56 where the camera tracks to the left and pans to the right to bring David Hemmings into view.