The Pro comes equipped with a 1″ CMOS, 20mp shooter which was developed in conjunction with Hasselblad and boasts an adjustable aperture, HDR Video (14 stops), DLog-M color (at 10bit!), and Hasselblad Natural Color Solution. This means that cinematographers can now capture a wider, more accurate color gamut across multiple lighting situations. Some have voiced concern about using 10bit color at a relatively low bit rate (100Mbps) but the video samples DJI showed seemed amazing, so I’m sure they figured out how to compress it without losing too much color data or image quality.





The major differences between the Mavic 2 Pro and the P4P are the slightly wider FOV of the P4P (84° v 77°), the lack of mechanical shutter on the M2P, and the fact that the Mavic 2 Pro can only shoot 4k at up to 30fps. So if 4k/60fps or a mechanical shutter are requirements for you (which is likely if you do mapping), you’re probably best sticking with the P4P. However, I think overall (and especially for the size) this is the aircraft to get and could very well replace the P4P for many pilots.