Blackmagic Raw is 16Bit Linear, 12bit Log - same as R3D.
Also the Komodo isn't using the usual Wavelet compression of Redcode, its using a different DCT compression (such as you get with Blackmagic Raw) - and one of the big selling points of redcode has always been the wavelet compression. Similarly you won't get the same levels of compression/quality with DCT Redcode so expect much larger files.
So I wouldn't put too much stock in redcode being a key selling point of this camera.
There is no OLPF, Blackmagic do not install them into any of their cameras.
More saturated yes, similar to the Alexa log-c. The hues are pretty perfect too, no need to do hue adjustments to get an accurate and tonally balanced image. Just add some contrast and a bit of saturation and you have a nice neutral grade. It's very easy and means the log footage has deeper and richer colour.
I didn't use any FD lenses - I believe Roman did though? I think he had them physically adapted for EF.
I haven't tried it out yet, from what I understand though- the data will help vfx and probably stabilisation software with 3d tracking - but it would likely be in addition to images based tracking.
Yes - I think it's very important to try out a camera system before investing in it. Even the most amazing cameras might not fit with how some people prefer to work.
I think that it could easily rival the Amira - although for DOC/ENG work - the Amira has the built in ND filters - which I suspect some people would want. Personally I have no issues with using non-built in ND filters, but I know for some they prefer the convenience of having it built in.
Red footage can look nice - but I find it requires a lot more work in the grade to get it to a good place. The Alexa is much easier - and I am starting to think that the Mini 4.6k is even easier still.