It Follows 2014 Cinematography breakdown and making of featurettes

[Agustin Saavedra Suau]

Hi you all.  It Follows is a Robert David Mitchell movie that made 13 times more money with budget of $1.000.000 dollars, and todays has earned the title of an horror cult classic. Has hidden key members like colorist Mark Todd Osborne (worked with Stefan Sonnenfeld in many blockbusters), editor Julio C. Perez IV (edited 15 eps in Euphoria) and music composer Disasterpeace (Triple Frontier). Mike Gioulakis (cinematographer of Split, Glass, Us and Old) made his first important feature film debut here, and an impecable one (on point). I can't find any information about how this movie was made in the ASC, british cinematographer, blogs...maybe 2 interviews on some webpages, and not any important featurette in youtube or the Blu-Ray disc. I like to see the b-roll of behind the scenes (showing reflectors, Negs, lights, dollies, steadicams, monitors, rigs, etc), know how of special effects with visual effects (alexa prores 4444 or red raw for plates), art direction designs, make up, location scout, sound design creativity, music creativity, script background, storyboarding, why they decide to record with Alexa in prores 4444 (was it on Codex), in what 35mm film stock was printed (with Arri laser?)
all I could get from interviews and digging was:

90% of movie filmed in Alexa with 80% of movie filmed with cook S4 18mm T2, some scenes with Angenieux Zoom Optimo 24-290 T2.8 as telephoto lens and zoom, one scene with Fujinon Alura Zoom 14.5-45 T2.8 as dolly-zoom effect and Arri Shift & Tilt System as dutch Tilt Push-in for one Jay's POV shot in the hospital scene. All shots with deep focus aperture. Preserving the premise that a short lens with deep focus allows to generate suspense through the subjects moving around the places with realistic perspectives.
All the 360 pans were done manually.
Some dollies done with a 50 feet Dolly track.
The intro scene was filmed with nothing more than the natural light of the setting sun in Dusk. 
In the car sex scene, 2 blondes and a 5K were used inside a 10x10 foot softbox (supported by an 80 foot condor)on top of the car. Inside the car on the roof a 2x6x1/4 inch dome light was made with a LiteGear LiteRibbon LED. And night exteriors with lights filling spaces in trees, graveyard and constructions. 
Red Epic for underwater and the wheelchair shots.
Redcode Raw recorded on SxS pro cards. 

Direction, production and script: Robert David Mitchell
production: Rebecca Green, Laura D. Smith Irrland, David Kaplan & Erik Rommesmo
music: Disasterpeace
Cinematography: Mike Gioulakis
Edition: Julio C. Perez IV
production designer: Michael Perry
art direction: Joey Ostrander
costumes: Kimberly Leitz
sound design: Christian Dwiggins & Chris Trent
special effects: Tate McLellan-Boland
Visual Effects: John Attard (Rain VFX), Max Pareschi (Rain VFX), Alan Pao (Tunnel Post)
Color: Mark Todd Osborne 

Anything you could know that may help. Many thanks in advance.