I would disagree with what Slup says above. It's not that what he/she has said is wrong , as such - but our perspective is different.
We always use a ND/PL for filming from a drone - and we only fly/film for professional work. I should also make clear that we only use approximately a 5 second section of film, once edited. (Anything longer than this is simply boring to the viewer.) So there's no flying here, there, and everywhere, constantly changing direction - which would go against the use of a ND/PL filter.
We check the angle of direction with the polariser before flight, adjusting as necessary. Sometimes, if we're flying at 90 degrees to the sun, we'll slightly tone down the polariser before takeoff, if there's a danger of it being too much. The ND/PL gives a good professional colour saturation and it works well with cinelike-D on the
P4P+ (sadly unavailable with the
Mini 2).
I should also make clear that, with any filming or stills photography I am against the use of any other type of "enhancing" filter. When you see a coloured sky in a movie or documentary, it shows that the production is somewhat sub-standard (which is not necessarily a budget thing). It is often used as a poor substitute when filming during the harsher hours of daylight. Top directors use the best light, which is near sunrise and sunset, even if it means getting everyone up very early so as to be ready.
Whilst I'm commenting, I would always suggest a better quality of ND or ND/PL filter. We use PolarPro for the
P4P+ and Tiffen for the
Mini 2. It's the one accessory which is essential, along with a good landing pad.