Yes.
Not weird at all, for those not well versed in theory. The majority of uke players take an almost purely physical approach to the fretboard: this shape in this position gives this chord, all shapes learned by rote. Talk to them in relative theory terms and their brains hurt (as they've vociferously made known). Even to recognize what pitch a certain note corresponds to when walked up the string is unfamiliar territory: they may need to check a fretboard map.
Distances in semitones are concrete, whereas distances expressed in "standard" intervals fail to reflect the ambiguity of some intervals, like the tritone (6 semitones = augmented 4th or diminished 5th): couldn't those be bV chords in the second and ninth entries? While you may assume 8 semitones maps to a minor 6th, it could also be an augmented 5th. Furthermore, the distances as you list them depend on the mode; they're only indirectly mapped to the Roman numerals: in C major, the chord symbol VI means A; in C minor, VI means Ab—quite confusing to the uninitiated. You demonstrate the pitfalls of the indirect root mapping in the eighth case, m11M: if we assume minor mode, according to the first chord, then the diatonic VII degree would be a minor 7th above—only 10 semitones—so the progression should be notated i-#VII, not i-VII.
Your listing does help make the "sense" of these progressions more apparent, it's just more "non-standard and weird" to the general audience here—and more error-prone and debatable. (I say this as a fellow theory-head who constantly beats his head against the wall trying to explain things because people haven't picked up the basic framework that makes describing musical patterns so much easier.)
The third entry should be I-bVI (or is it #V?).
The alternative listed in the sixth entry (M7m) is I-v.
