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Presumably it is so that the footage from the ZR can be more easily color graded by those who are familiar with RED footage, and the material from the ZR can be mixed with that from RED cameras with easier and better color compatibility. Nikon's issue is that the video from its hybrid cameras (especially in SDR mode) is designed to color match with the stills from Nikon cameras and cinema people have their own preferences that differ from that of the stills world. Nikon has been gradually adding features to make it easier to make the footage look similar to that of RED cameras, and this is another step in that process. Personally I like the SDR colors from Nikon cameras in video as they are so familiar to me as a stills shooter, and if I want to present video and stills from an event, they match by default. I appreciate that for video there are reasons to use log formats for encoding the data in a more efficient way to get a wider range of tones and colors recorded while keeping file sizes in check, and this encoding can vary from camera brand to camera brand, making mixing the footage across brands to a cohesive whole more challenging. The 4:2:0 vs. 4:2:2 has to do with how the colors of adjacent pixels are encoded to save space, I don't necessarily see how this would affect the overall "look" or dynamic range of the footage, which the log profile might affect. Nikon does support 4:2:2 in Prores in the ZR. I would assume the RED Log profile would likely be available for Prores files as well, after suitable firmware updates have been made available.