DJI drone media, like nearly all drones and many DSLR's and mirrorless cameras, typically records in long-GOP formats. There's a complete actual frame of video every so many "frames", and in-between the camera only records datasets of the pixels that either have moved since the last i-frame, or will move before the next i-frame. This can be written to card fast and "small" in the camera, but is a right bear for the CPU/RAM/cores & threads subsystem on decoding/playback in an NLE.
It's bad enough with FullHD 1080 stuff ... 4k is kind of insane, especially as the camera makers are pushing out the length of the p/b frame sections per i-frame.
So ... using the PrPro proxy-on-ingest process can work pretty well to get around this, use the included Cineform preset and NOT an H.264 preset (no clue why those are even offered). Then with a click of the icon in the Program monitor, you flip forth & back between original & proxy media.
Others still choose to do a full transcode for the editing process, creating intraframe transcodes of either Cineform YUV, DNxHD/R, or ProRes. If they are named exactly the same as the original media, you can 'archive' the original media, use the much larger but better-playing transcodes during editing, and then dump the transcodes when you archive the project file into the folders with the original media.