Profoto ProPanel 3×2 Review

The Profoto ProPanel 3×2 is claimed to be the world’s brightest soft-light LED panel. It produces 2000 watts and is powered by the Profoto Core-5 light engine.

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The ProPanel 3×2 comes in a relatively lightweight, ballast-free package with an IP-65 rating.

The ProPanel 3×2 arguably competes with lights such as the Creamsource Vortex24 Soft, ARRI SkyPanel S360-C, Cineo Quantum II, and ProLights EclPanel TWCXL RGB LED Light Panel. You could also make a case that it competes against some of the multi-panel array configurations that are available from companies such as Litepanels, Aputure, ARRI, Creamsource, etc.

The biggest advantage the Profoto ProPanel 3×2 has over its competition is its low weight. This alone makes it an attractive proposition.

The ProPanel 3×2 was designed to be versatile, and it has been tailored to the requirements of working DPs, gaffers, console operators, lighting designers, and broadcast technicians.

Size & Weight

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Lights of this size and power draw are inherently heavy. The ProPanel 3×2 weighs in at 26.5 kg / 62.8 lbs, which is not a lot for a 3×2-sized fixture. In terms of size, the fixture has physical dimensions of 113 cm x 66cm x 19,5cm / 44.5″ x 26″ x 7.8″.

This really isn’t a light I would recommend for solo operators; you really need at least two people to work with this light comfortably. While I could lift it myself, it isn’t easy, and I wouldn’t recommend you doing it by yourself.

While I like panel lights with built-in power supplies, it does make the actual light a lot heavier, and you, therefore, need to make sure that you use heavy-duty light stands.

Let’s see how this weight compares to some other high-end 3×2 RGBW lights. I have also put in a couple of 2×1 panel lights, so you can also get a reference.

	WEIGHT
Profoto ProPanel 3×2	26.5kg / 62.8 lb
Creamsource Vortex24 Soft	49.4kg / 108.8 lb**
ARRI SkyPanel S360-C	41kg / 90.4 lb***
ProLights EclPanel TWCXL	48.7kg / 107.4 lb**
Cineo Quantum II	37.9kg / 83.5lb**
KNOWLED P1200R Hard PRO	22kg / 48.5 lb**
Godox KNOWLED P600R Hard Pro	13kg / 28.7 lb
ARRI SkyPanel X21	18kg / 39.7 lb**
Creamsource Vortex8	15.6 kg / 34.39 lb*
ARRI S60-C SkyPanel	17 kg / 37.47 lb*
Rotolight Titan X2	14.3 kg (31.52 lb)**
Litepanels Gemini 2×1	10.1 kg / 22.26 lb**
Litepanels Gemini 2×1 Hard	11.5 kg / 25.3 lb**
Z CAM ZOLAR Vega 80C	20 kg / 44.1 lb**
SUNNYXIAO CO2P	12.5 kg / 27.55 lb**
Lupo UltrapanelPRO Full Color Hard 60	9 kg / 19.8 lb**
Luxli Taiko	8.96 kg / 19.75 lb**
Velvet EVO 2	7.57 kg / 16.7 lb**
Nanlux Dyno 650C	15.8 kg / 34.8 lb**

*Weight includes power supply and yolk frame.

** With standard yoke

***With standard yoke, but without power supply

As you can see, the Profoto ProPanel 3×2 is considerably lighter than the majority of the competition. The Creamsource Vortex24 Soft is almost double the weight. The ProPanel 3×2 is only 4.5kg more than the much smaller KNOWLED P1200R Hard PRO.

Design

The ProPanel 3×2 is nicely designed, and everything is well laid out and easily accessible. Profoto tends to favor simplicity and ease of use with its fixtures, and the ProPanel 3×2 follows in those same footsteps.

Build Quality

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I personally think that ARRI and Creamsource are two of the companies at the top of the pyramid when it comes to build quality, so how does the Profoto ProPanel 3×2 stack up?

The ProPanel 3×2 is solidly made, and Profoto has done a nice job of still making it robust while managing to keep the weight to a minimum.

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There is a large integrated carry handle on the fixture, which makes it easy to lift and move. You can also hold onto it when pushing the fixture on a wheeled stand.

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The casing seems to be very robust, and it looks like it could stand up to the rigors of life in a busy rental house.

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There aren’t any protective bumpers or anything on the sides of the fixture.

I would have liked to have seen Profoto include a transportation case with the fixture. It just comes in a cardboard box, and because of its physical size, it is going to be very hard to find any type of off-the-shelf case/bag to put it in. Keeping it in a cardboard box is hardly ideal. You also need to remove the yoke frame from the fixture to fit it in the cardboard box.

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The ProPanel 3×2 utilizes a large angled yoke frame. This is nicely made, and it is strong but lightweight.

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The yoke frame allows for a lot of adjustment, and it is strong enough to easily hold a large softbox. The light has two locking adjustment points.

It is reasonably easy to attach and detach from the fixture; however, I recommend doing it on the ground because it’s a heavy light, and you don’t want to be holding it above your head trying to line it up.

The standard yoke allows for mounting to a combo stand with a standard Junior Receiver (28 mm). As the light sits back slightly when mounted, the balance is nice as not all of the weight is sitting out the front.

Above, you can see that the yoke frame allows you to point the fixture directly down or up.

The ProPanel 3×2 is an IP65-rated water-resistant fixture that has eliminated external power supplies to simplify rigging and cabling.

The ProPanel 3×2 also has built-in Temperature Protection to prevent
damage from overheating or extremely low temperatures:

If the internal temperature becomes critically high, a “COOL” indicator appears on the main screen. If the temperature continues to rise, the light output shuts off, and the fan switches to maximum speed for cooling.

A similar warning will be shown if the unit is turned on below the critical minimum temperature for the liquid cooling (e.g. when frozen).

Profoto Core-5 light engine

The ProPanel 3×2 doesn’t feature the CORE-6 RGBWWW LED Engine that is found in the very good L600C. Instead, it utilizes the Profoto Core-5 light engine, which is RGBWW.

We have seen everything from RGBW/RGBWW to 6-color systems (RGBLAC), to Aputure’s BLAIR CC, and NANLUX’s new C8 Full Color Light Engine, which is claimed to be the industry’s first eight-color light engine.

The Profoto ProPanel 3×2 has a CCT range of 2,000–15,000K. As a comparison, the Creamsource Vortex24 Soft has a CCT range of 2,200-20,000K, the ARRI SkyPanel S360-C has a CCT range of 2800K-10,000K, and the ProLights EclPanel TWCXL RGB LED Light Panel has a CCT range of 1800K-20,000K.

The Profoto ProPanel 3×2 has claimed CRI and TLCI scores of 95 and 97, respectively. The SSI scores are claimed to be 86@3200K / 74@5600K.

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If you want to see just how good the Profoto ProPanel 3×2 is when it comes to color accuracy, above, I have set the light at 5600K and used a preset 5600K WB on the camera. I then did a manual WB for a comparison. As you can see, there is quite a noticeable difference between the two images. The Profoto Core-5 light engine doesn’t seem to be as good as the CORE-6 RGBWWW LED Engine found in the L600C.

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Above is the same test, but this time at 3200K. At 3200K, it performs better than it did at 5600K, but there is still a slight difference.

Cooling & Power

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High-power draw, high-output RGBWW lights create an awful lot of heat, and that heat needs to be dispersed. The ProPanel 3×2 draws 2200W, which is a lot!

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Using fans is the best solution, but the caveat with fans is that they can create noise. The ProPanel 3×2 has five fans.

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Profoto utilizes a system they call CTech to provide effective cooling for the ProPanel 3×2. Profoto spent years working on the cooling system, and it works exceptionally well. For such a high-power draw fixture, it runs very quietly. Even with the output set to 100% and running continually for a few hours, I couldn’t hear any noise in a quiet room. This is a big deal and certainly one of the strengths of this fixture.

As far as fan speeds are concerned, you can choose between:

• AUTO
• MAX
• SILENT

In the Silent setting, the fixture is limited to 375W.

As far as power is concerned, the light can handle a 100-240V AC, 50/60Hz source. The light features a Neutrik PowerCon connector. There is no DC input, so you can’t run the light remotely from a DC source; however, there are plenty of readily available and affordable portable power stations that could run this fixture remotely in the field.

As I mentioned earlier, the light draws a max. of 2200W. This is a very high power draw, and this means that it can’t be run via a normal household power plug at full output. Where I live, in Japan, it is already hard to run some fixtures from household plugs, so the only way I can power this light at full power is from a 200V outlet. These are not commonly found.

Even when the light was plugged into a 200V outlet in Japan, the output was still limited to 1925W. In Europe, Australia, USA, etc., you will be able to get more output out of the light.

Now, the ProPanel 3×2 does have a nice trick up its sleeve, as you can set it in an AUTO Power Mode where the fixture will automatically set itself to a certain output based on the power it is receiving. You can also manually set the power limit on the fixture as well.

This feature is useful when:

• Power sources are fused with limited current.
• Multiple lights share the same circuit.
• A portable generator or battery pack is used.

This allowed me to plug the ProPanel 3×2 into a standard Japanese 100V outlet. When I did this, the power was limited to 1550W.

Below you can see the power draw of other high-end 3×2 RGBW fixtures, as well as some 2×1 fixtures that I have put as a reference.

	POWER DRAW
Profoto ProPanel 3X2	2200W
Creamsource Vortex24 Soft	1950W
ARRI SkyPanel S360-C	1600W
ProLights EclPanel TWCXL	1600W
Cineo Quantum II	1500W
Godox Knowled P1200R Hard PRO	1300W
ARRI SkyPanel X21	800W
Creamsource Vortex8	650W
ARRI S60-C SkyPanel	450W
Rotolight Titan X2	420W
Litepanels Gemini 2×1	325W
Litepanels Gemini 2×1 Hard	500W
ZOLAR Vega 80C	1000W
SUNNYXIAO CO2P	450W
Lupo UltrapanelPRO Full Color Hard 60	440W
Luxli Taiko	250W
Velvet EVO 2	200W
Nanlux Dyno 650C	650W

Control & Connectivity

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The ProPanel 3×2 features an intuitive onboard user interface. There are very few buttons and dials, and that was done to simplify the operating experience. These minimalist controls are combined with a clear screen display that makes it easy to make adjustments. The UI is super simple, and you don’t need to read a manual to figure it out.

There is also Profoto Air and Profoto AirX connectivity, enabling a variety of ways to manage the fixture.

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The ProPanel 3×2 also adds other important communication methods via its DMX/RDM and CRMX capability. The ProPanel 3×2’s wireless connectivity is possible from up to 328′ away. The ProPanel 3×2 includes an integrated LumenRadio TimoTwo module for CRMX wireless DMX control.

There is also a free Profoto Control Desktop app to expand your control options. The app offers control over your Profoto light right from your Mac computer. Some of the many features of the Profoto Control Desktop app are the ability to save and reuse custom presets, independent control of up to six lighting groups, tethering integration, and firmware updates. Note: Compatible with any Mac computer running macOS 14.6 or later.

Operating Modes

The ProPanel 3×2 offers six selectable light modes, each providing different ways to adjust the light’s color characteristics:

• CCT – White light mode with adjustable color temperature and tint.
• HSI – Color mode with adjustable hue and saturation.
• XY – Color mode using X/Y coordinate control for precise color definition.
• RGBW – Color mode with individual control of Red, Green, Blue, and White channels.
• GELS – Simulated gel mode with selectable presets based on LEE and Rosco gels.

To change the light mode, press and hold the left dial to open the light
mode selection menu.

Correlated Color Temperature (CCT)

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This is the mode most people are going to use the light in. In the CCT Mode, you have full access to making Kelvin color temperature adjustments between 2000-15000K. This is a very wide range, and it offers plenty of versatility.

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The CCT light mode includes two selectable output modes, found under Settings > CCT Output:

Constant (default) – Limits the maximum light output to maintain consistent intensity across the CCT range (~2600K–8000K), based on the set dim level.

Max – Removes the output cap to allow maximum possible intensity at any selected CCT.

You can adjust the intensity right down to 0.1%, and the light still stays on.

The fixture also has continuous variable (full -100 to +100 minus green to full plus green) correction.

Being able to dial in more or reduce the amount of green coming from your lighting source can make a huge difference. Different camera companies use different sensors in their cameras, and they all react differently to light. Some camera sensors may lean towards magenta, and some may lean more towards green. By making CCT adjustments, you can dial in the light so that it looks better for whatever camera system you are using. CCT adjustment also helps when you are trying to match lights from different manufacturers.

HSI

The HSI mode lets you create just about any color you can think of. It gives you full hue and saturation control as well as intensity. By manipulating the hue and saturation, you can create some really interesting colors that, depending on the project you are working on, can really add some creative flair. I quite like using this mode to create a lot of color separation between the foreground and background, or for recreating a really cold or warm-looking image.

Because the interface has really good visual aids, it is so much easier to dial in the exact color you want to create. On some lights, you have to use dials with no visual reference.

XY

In this mode, you can adjust the x,y coordinates of the light. This can be handy when trying to match other fixtures or light sources if you have a Specromaster that can measure x,y coordinates.

RGBW

In this mode, you can individually adjust the Red, Green, Blue, and White channels of the fixture.

The output intensity is not constant when you change X and Y values. Light output will vary depending on the selected color coordinates.

Gel

Inside the fixture, there is a huge assortment of industry-standard gels from both Lee and Rosco. GEL mode lets you apply virtual LEE and Rosco gels, matched to either a Tungsten (3200K) or Daylight (5600K) base light.

Having built-in Digital Gels not only means that you don’t have to physically carry gels around, but you can also quickly and easily replicate popular gels. Using the gel mode can help you match other lighting sources, especially if you are working with other lights with physical gels.

Navigating Settings Menu

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The Settings menu gives you access to all configurable options for the unit.

The menu is very easy and intuitive to navigate.

Profoto Control App

The integrated Bluetooth module supports remote control via the Profoto Control app, available on the App Store and Google Play.

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To pair a light with the Profoto Control app, make sure that Bluetooth is ON and Disconnected (Settings > Bluetooth). Then follow the in-app instructions to connect your light.

The first time you go to use the app, you will be asked to register for an account. I am not the biggest fan of having to do this just to use an app.

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Once registered, it will automatically show any Profoto fixtures that are turned on with their Bluetooth enabled.

You then simply connect to the light you want to control.

Once a light has been connected to the Profoto Control app, it will automatically reconnect the next time you launch the app until you manually disconnect the light in the app.

Above, you can see the main screen that you get brought to once you have connected to the light.

You will then be taken to another screen if you haven’t registered your fixture or a firmware update is required.

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If there is a firmware update you need to do, it is a straightforward procedure.

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If you click the gear icon, you can change and view a wide array of settings, including Light Mode, Fan, Dimming Curve, CCT Output, RGBW Color Space, Wireless, and DMX.

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Back on the main page, you can simply adjust the CCT, +/- G/M, and output intensity. You can also choose to hide all of the secondary controls if all you need to do is adjust the intensity. You can also manually type in values instead of using the sliders.

I would have liked to have seen some presets for commonly used CCT values on this page and the ability to directly access other operating modes. Having to go to another menu to change the operating mode doesn’t feel very intuitive.

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Above, you can see the UI screens for the various operating modes.

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The only small glitch I found, and this may just be a firmware issue, is that I couldn’t make any changes to the FX modes in the app. I could only adjust the intensity. If I wanted to select different FX and make changes, I needed to do it on the fixture itself.

Overall, the app works well. It is easy to make changes, and it connects up without any issues. Even when you turn the light off and then back on again, if you still have the app open, it will automatically reconnect.

The app is also very snappy to use, and you don’t get any noticeable delay, as you find on some other lighting apps.

Profoto Air (and Air flash mode)

Profoto Air is a proprietary wireless protocol that is integrated into all Profoto lights. It enables remote control and flash triggering via any Profoto
on-camera remote, such as the Profoto Connect Pro. When Profoto Air is selected, you can also enable Air Flash mode to use the lamp as a flash source instead of continuous light.

With Air Flash enabled:

• The continuous light is dimmed to a low standby level
• The lamp will pulse a 30-millisecond flash at full set intensity when triggered from a Profoto remote.

Air Flash Mode is ideal for use cases where high-intensity flashes are needed, without keeping the full continuous light output active. It reduces power consumption and increases comfort for subjects, especially in portrait photography.

Beam Angle

The beam angle of the ProPanel 3×2 is 120°. This is nice and wide and provides a good spread of light.

Below you can see what the standard beam angle is of some other 3×2 and 2×1 fixtures.

	Beam Angle
Profoto ProPanel 3×2	120 degrees
Creamsource Vortex24 Soft	110 degrees
ARRI SkyPanel S360-C	105 degrees
ProLights EclPanel TWCXL	109 degrees
Cineo Quantum III	150 degrees
Godox KNOWLED P1200R Hard PRO	50-55 degrees
ARRI SkyPanel X21	120 degrees
Creamsource Vortex8	20 degrees
Creamsource Vortex24 Hard	20 degrees
Rotolight Titan X2	68 degrees to 150 degrees
ARRI SkyPanel S60-C	115 degrees
Litepanels Gemini 2×1	93 degrees
Litepanels Gemini 2×1 Hard	20 degrees
ZOLAR Vega 80C	60 degrees
SUNNYXIAO CASTER C02P	110 degrees
Razyr MC MAX 400	120 degrees
Lupo UltrapanelPRO Full Color Hard 60	40 degrees
Lupo Superpanel 60 Full Color	115 degrees
Luxli Taiko 2×1 RGBAW	76 degrees
Velvet EVO 2	115 degrees
Nanlux Dyno 650C	160 degrees

Output

The Profoto ProPanel 3×2 is claimed to be able to output 7,370 lx @3m / 9.9′ when used at 5600K. I will test this further down in the review.

Above, you can see the claimed photometric output data for the Profoto ProPanel 3×2.

Who is it aimed at?

The Profoto ProPanel 3×2 is arguably primarily targeted at rental houses, studios, and large productions; however, there is no reason it wouldn’t make for a versatile high-end lighting solution for smaller production houses and in-house installations.

The Profoto ProPanel 3×2, which was the winner of the 2025 Cine Gear Technical Award for lighting technology, is available to hire from Panalux.

Panalux is one of Europe’s leading lighting-equipment rental providers, and they now stock a range of Profoto lighting fixtures, including the ProPanel 3×2.

“Panalux is excited to expand our rental offerings of Profoto products with the introduction of the ProPanel 3×2. Both brands share a passion for providing filmmakers with innovative tools to shape light for moving images. The ProPanel 3×2’s exceptional output, color quality, and lightweight design make it an excellent choice for modern productions that need to move quickly without sacrificing visual impact.”

Dave Amphlett, Technical Director, Panalux EMEA

The ProPanel 3×2 is currently being used on the set of the new Baywatch reboot series by Cinematographer Alicia Robbins and chief lighting technician Dessie Coale.

Optional Profoto SnapBag Medium

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Everything with Profoto ProPanel 3×2 has been designed for speed. It’s a true plug-and-play solution since there’s no ballast. With the integrated 360 railing, you can easily grip it from any angle. The new SnapBag and SnapGrid range features the rapid-lock SpeedClamp system, enabling a single gaffer to mount it without hassle. These are made by DoPchoice for Profoto.

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The DoPChoice Snapbag is really well made, and it features a very clever mounting system that allows it to be clamped down to the 360 railing.

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The kit comes with an internal baffle and front diffusion.

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As the ProPanel 3×2 has a wide beam angle, it completely fills up the Profoto SnapBag Medium.

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The kit also comes with a range of baffles that you can use. These hark back to designs that have been used by still photographers for quite a long time. I thought this might just be a bit of a gimmick, but they work really well, especially with such a big lighting source.

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Photometrics

So now let’s get to the photometric results. I always test lights in this way so that I get a reference to how they compare to other fixtures. Results only tell part of the story and should never be used alone to judge a light. I have found from extensive testing over the years that certain lights that have good photometric results don’t always look good, and lights that have worse photometric scores can sometimes look better than their results indicate.

You should never judge a light based on one particular set of tests. You need to look at all of the data to get a comprehensive idea of how a light performs.

Different lights can also look different depending on what camera you happen to be using. You should never judge a light based on one particular test. You need to look at all of the data to come up with an accurate conclusion.

Output & Color Temperature Accuracy

I tested the Profoto ProPanel 3×2 at a variety of CCT settings, using a Sekonic C-800 Spectrometer to find out how much output the light had and how accurate the CCT reproduction was. All readings are taken at a distance of 3m (9.9ft) in a controlled environment unless otherwise stated.

With large physical sources, you cannot measure them correctly at a distance of 1m / 3.3′ and that is why the ProPanel 3×2 is being measured at 3m / 9.9′. There is also a potential issue when measuring large light sources @1m /3.3′. If you consider the diameter of the sensor (for example, Sekonic 800C), it is obviously very small. The emitting area of a 3×2 is very large by comparison. Of course, the quantity of light emitted from the whole area of the panel will not fit into a 1m in the small area of the sensor. Ideally, the sensor should be in the same area as the emitting area. In this case, the ideal sensor would be a 3×2 sensor and would “catch” all the light emitted.

There is a lot to get through here, so I suggest you grab a coffee or a tea!

MAX Output Mode

Profoto ProPanel 3×2 5600K Max Output @3m / 9.9′

Above, you can see the Profoto ProPanel 3×2 recorded an output of 10,100 lx (934 fc) when set at 5600K in its Max output mode at a distance of 3m / 9.9′.

This is a good amount of output from a light this size, and it equates to 90,900 lx @1m / 3.3′.

The light recorded a CCT reading of 5208K, which was almost 400K off being correct.

Profoto ProPanel 3×2 5600K Max Output @3m / 9.9′

Above, you can see the Profoto ProPanel 3×2 recorded an output of 9840 lx (915 fc) when set at 3200K in its Max output mode at a distance of 3m / 9.9′.

This was just 2.57% less output than it had when used at 5600K. 9840 lx @3m / 9.9′ equates to 88,560 lx @1m / 3.3′.

The light recorded a CCT reading of 3095K, which was a pretty good reading.

How does it perform at various CCT Settings (@3m /9.9′)?

Summary of results MAX Output Mode

	OUTPUT	CCT READING
2500K	8210 lx	2477K
3200K	9840 lx	3095K
4500K	10,600 lx	4292K
5600K	10,100 lx	5208K
6500K	8920 lx	6092K
8000K	9570 lx	7456K
10000K	8790 lx	9375K

These results show me that the light’s output when used in its Max Output mode is still pretty consistent at most CCT settings, but it has the most output when used at 4500K. The light’s output varies by 18.72% across the 2500K to 10000K range.

The results also show me that the light has better CCT accuracy at lower CCT settings. At 5600K and above, the results could have been better.

I haven’t reviewed the Creamsource Vortex24 Soft or ARRI S360-C, but I will list their claimed photometric outputs below @3m / 9.9′.

	Output 5600K	Output 3200K
Profoto ProPanel 3×2	10,100 lx	9840 lx
ARRI S360-C	5133 lx*	5628* lx
Creamsource Vortex24 Soft	7407 lx*	7822 lx*

As you can see, the Profoto ProPanel has more output than both the ARRI S360-C and Creamsource Vortex24 Soft.

Output when using 100V Wall Outlet

Let’s now see how much output the light has if you plug the ProPanel 3×2 into a 100V wall socket.

Profoto ProPanel 3×2 5600K Max Output @3m / 9.9′

Above, you can see the Profoto ProPanel 3×2 recorded an output of 8,350 lx (776 fc) when set at 5600K in its Max output mode at a distance of 3m / 9.9′ and plugged into a standard 100V wall outlet.

This was 17.32% less output than when it was used with a 200V outlet.

This is still a good amount of output, and it equates to 75,150 lx @1m / 3.3′.

The light recorded a CCT reading of 5284K, which was better than the reading of 5208K it recorded when run from a 200V outlet.

Fan set to Silent

Profoto ProPanel 3×2 5600K Max Output Fan set to Silent @3m / 9.9′

Above, you can see the Profoto ProPanel 3×2 recorded an output of 2180 lx (202 fc) when set at 5600K in its Max output mode at a distance of 3m / 9.9′ when the fan was set to Silent. This was 78.41% less output than when used in its Max or Auto fan modes. When using the Silent fan mode, the output is capped to 375W.

The light recorded a CCT reading of 5341K.

Constant Output Mode

We have seen how much output the light has when used in its MAX output mode, but what about if we put it into Constant output?

Profoto ProPanel 3×2 5600K Constant Output @3m / 9.9′

Above, you can see the Profoto ProPanel 3×2 recorded an output of 7,990 lx (742 fc) when set at 5600K in its Constant output mode at a distance of 3m / 9.9′.

This was 20.89% less output than when it was used in its MAX output mode.

The light recorded a CCT reading of 5297K. This was a better reading than when the light is used in its MAX output mode.

Profoto ProPanel 3×2 5600K Constant Output @3m / 9.9′

Above, you can see the Profoto ProPanel 3×2 recorded an output of 8,170 lx (759 fc) when set at 3200K in its Constant output mode at a distance of 3m / 9.9′.

This was 16.97% less output than when it was used in its MAX output mode.

The light recorded a CCT reading of 3092K. This was almost identical to the reading it recorded when run in its MAX output mode.

How does it perform at various CCT Settings (@3m /9.9′)?

Summary of results Constant Output Mode

	OUTPUT	CCT READING
2500K	8050 lx	2442K
3200K	8170 lx	3092K
4500K	8160 lx	4282K
5600K	7990 lx	5297K
6500K	7940 lx	6102K
8000K	8310 lx	7482K
10000K	8560 lx	9403K

These results show me that the light’s output when used in its Constant Output mode (~2600K–8000K) is very consistent across its CCT settings. The light’s output varies by just 4.45% across the 3200K to 8000K range.

The results also show me that the light has better CCT accuracy at lower CCT settings. At 5600K and above, the results could have been better.

Output when using the Profoto SnapBag Medium

Profoto ProPanel 3×2 5600K MAX Output with SnapBag Medium @3m / 9.9′

Above, you can see the Profoto ProPanel 3×2 recorded an output of 5570 lx (517 fc) when set at 5600K with a Profoto SnapBag Medium at a distance of 3m / 9.9′. If we use the inverse square law, that equates to 50,130 lx @1m / 3.3′. This is a ton of output from a light using a softbox at that distance.

The light recorded a CCT reading of 5189K. This was just over 19K lower than the 5208K it recorded without the soft box. This tells me that the Soft Box isn’t altering the CCT.

Profoto ProPanel 3×2 3200K MAX Output with SnapBag Medium @3m / 9.9′

Above, you can see the Profoto ProPanel 3×2 recorded an output of 5370 lx (499 fc) when set at 3200K with a Profoto SnapBag Medium at a distance of 3m / 9.9′. If we use the inverse square law, that equates to 48,330 lx @1m / 3.3′. This is a ton of output from a light using a softbox at that distance.

The light recorded a CCT reading of 3028K. This was 67K lower than what it recorded without the softbox. This tells me that the Soft Box isn’t massively altering the CCT reading.

Why is it always beneficial to have fixtures give you as accurate a reading as possible reading based on the settings you choose, with most modern-day lights that have a wide CCT range and +/- G/M correction, you can offset them to produce excellent results.

RGBW Output & Accuracy

With most RGB lights, if you use them to generate or create colors, the output gets massively reduced. So how does the Profoto ProPanel 3×2 fare?

I decided to do a test to see how much output the light had when I created super-saturated colors.

Profoto ProPanel 3×2 RED 0° MAX Output (@3m / 9.9′)

Above, you can see that when it was in the HSI mode, choosing a 0° saturated RED, and set to 100% output @3m /9.9′, the light recorded 2630 lx / 245 fc. What you need to be clearly aware of when trying to generate some super saturated colors is that the output is going to be significantly lower than when using the light in CCT mode.

As far as being able to accurately create a super saturated RED, the Profoto was spot on with a reading of 0°.

Profoto ProPanel 3×2 GREEN 120° MAX Output (@3m / 9.9′)

Above, you can see that when it was in the HSI mode, choosing a 120° saturated GREEN, and set to 100% output @3m / 9.9′, the light recorded 3740 lx / 347 fc.

As far as being able to accurately create a super saturated GREEN, the Profoto was spot on with a reading of 120°.

Profoto ProPanel 3×2 BLUE 240° (@3m / 9.9′)

Above, you can see that when it was in the HSI mode, choosing a 240° saturated BLUE, and set to 100% output @3m / 9.9′, the light recorded 813 lx / 75.5 fc.

As far as being able to accurately create a super saturated BLUE, the Profoto was spot on with a reading of 240°.

Profoto ProPanel 3×2 YELLOW 60° (@3m / 9.9′)

Above, you can see that when it was in the HSI mode, choosing a 60° saturated YELLOW and set to 100% output @3m / 9.9′, the light recorded 7440 lx / 691 fc.

As far as being able to accurately create a super saturated YELLOW, the Profoto was 6° off with a reading of 66°.

The Profoto ProPanel 3×2 was very good at replicating accurate colors with full spectrum. It was 6° off when trying to create a super-saturated yellow, but most lights struggle to do that.

CCT consistency when dimming the light

Now, what you should always do when testing lights is to see if the CCT remains consistent when dimming the light. Just because you set a light at say 5600K, that doesn’t mean that the CCT will remain stable as you start dimming the fixture down.

I decided to do a series of tests at 100%/75%/50%/25%/10% to see if the CCT being recorded changed. This was done at a distance of 3m / 9.9′ using a Sekonic C-800 with the light in its Constant output mode.

INTENSITY	CCT READING
100%	5297K
75%	5315K
50%	5318K
25%	5343K
10%	5378K

The Profoto ProPanel 3×2 is able to maintain excellent CCT consistency as you start dimming the fixture. My testing showed that the CCT only varied by 81K. These are good results, and it shows me that you can dim this fixture down without having to worry about any big noticeable changes in the CCT.

How linear is the output?

With lights, it is important to check how linear the dimming curve is. So let’s check out how the Profoto ProPanel 3×2 performs when it is used in its Linear Dimming Curve mode. The results were measured @3m / 9.9′

INTENSITY	OUTPUT
100%	7990 lx
75%	5970 lx
50%	4000 lx
25%	2010 lx
10%	791 lx

At 50%, the fixture produces 49.94% less output than when it was used at 100%. At 25%, it has 74.84% less output than when it was used at 100%. At 10%, it had 90.1% less output. This tells me that the light’s dimming curve is extremely linear.

Color Rendering

Profoto ProPanel 3×2 5600K Max Output @3m / 9.9′

So now that we have seen how much output the Profoto ProPanel 3×2 produces, how does it perform when it comes to replicating accurate colors? Above, you can see that when the light was set at 5600K, it recorded an average CRI (R1-R8) of 96.3 and an extended CRI (R1-R15) of 94.96. For replicating accurate skin tones, it recorded 93.2 for R9 (Red), 95.2 for R13 (closest to caucasian skin tones), and 95.9 for R15 (closest to Asian skin tones). These are excellent results, and not a single value was under 90.

The light, when set at 5600K, recorded a TLCI score of 98.

As I previously mentioned, I haven’t reviewed the Creamsource Vortex24 or ARRI kyPanel S360-C, but let’s have a look at how the Profoto ProPanel 3×2 compares to some 2×1 RGBW lights that we have previously reviewed when used at 5600K? Below you can see:

	Average CRI	Extended CRI
Profoto ProPanel 3×2	96.3	94.96
Godox KNOWLED P1200R Hard Pro	94.8	92.92
ARRI SkyPanel X21	96.9	95.58
Creamsource Vortex8	96.2	94.24
Rotolight Titan X2	96.8	95.21
ARRI SkyPanel S60-C	95.7	92.92
Litepanels Gemini 2×1	95.2	93.24
SUNNYXIAO CASTER C02P	95.4	92.83
Luxli Taiko	97.6	95.8
Rayzr MC MAX 400	95.3	92.96

Profoto ProPanel 3×2 3200K MAX Output @3m / 9.9′

Above, you can see the scores for when the light was used at 3200K. It recorded an average CRI (R1-R8) of 95.0 and an extended CRI (R1-R15) of 93.62. For replicating accurate skin tones, it recorded 88.7 for R9 (red), 93.5 for R13 (closest to caucasian skin tones), and 94.1 for R15 (closest to Asian skin tones). These were very good results, and only R9 (Red), R11 (Green), and R12 (Blue) were slightly below 90.

These results were a little bit worse than when the light was used at 5600K.

The light, when set at 3200K, recorded a TLCI score of 98.

How does this compare to some 2×1 RGBW lights that we have previously reviewed when used at 3200K? Below you can see:

	Average CRI	Extended CRI
Profoto ProPanel 3×2	95.0	93.62
Godox KNOWLED P1200R Hard Pro	94.6	93.70
ARRI SkyPanel X21	97.7	97.34
Cteamsource Vortex8	97.1	95.82
Rotolight Titan X2	95.9	94.27
ARRI SkyPanel S60-C	96.1	94.06
Litepanels Gemini 2×1	97.2	95.3
SUNNYXIAO CASTER C02P	95.3	93.78
Luxli Taiko	97.7	96.8
Rayzr MC MAX 400	90.6	88.64

Profoto ProPanel 3×2 @3m / 9.9′ (Profoto SnapBag Medium)

Above you can see the scores for when the light was used at 5600K with its optional Profoto SnapBag Medium @3m /9.9′. It recorded an average CRI (R1-R8) of 95.9 and an extended CRI (R1-R15) of 94.50. For replicating accurate skin tones, it recorded 91.2 for R9 (red), 94.8 for R13 (closest to caucasian skin tones), and 95.5 for R15 (closest to Asian skin tones). These were excellent results, and only R10 (Yellow) was marginally below 90.

These results were very similar to when the light was used without the Profoto SnapBag Medium.

Profoto ProPanel 3×2 3200K @3m / 9.9′ (Profoto SnapBag Medium)

Above you can see the scores for when the light was used at 5600K with its optional Diffusion Panel @3m /9.9′. It recorded an average CRI (R1-R8) of 94.5 and an extended CRI (R1-R15) of 92.93. For replicating accurate skin tones, it recorded 87.5 for R9 (red), 92.7 for R13 (closest to caucasian skin tones), and 93.5 for R15 (closest to Asian skin tones). These were very good results, but R9 (Red, R11 (Green), and R12 (Blue) were just slightly below 90.

Thoughts

The Profoto ProPanel 3×2 scored well in these color rendering tests. What you clearly also need to understand, and I want to continue to stress this point, is that all lights react differently to different camera and sensor combinations. One particular light may look better with an ARRI camera, and another light may look better with a Canon camera, etc. Also, full color lights have a myriad of adjustments you can make to fine-tune results.

CC Index & ⊿uv

The CC Index displays the CC correction value and whether any magenta or green need to be added or subtracted. 1 CC corresponds to 035 Kodak CC values or 1/8 Rosco filter values. Any reading less than +1.00 or -1.00 and you’re probably not going to need to make any kind of adjustment. The ⊿uv is the value to show how much this light is away from being an ideal light source (black body radiation = incandescent lamp). As with the CC Index you want this number to theoretically be zero. Kelvin is not a linear value, so we need to convert from Kelvin to MK-1 to compare the values of color temperature. To calculate from Kelvin to Mired is MK-1= 1*1000000/Kelvin. While this may sound confusing, it is the only way of measuring if the Kelvin shift is significant enough to warrant having to use a filter for correction. Below are the results for the Profoto ProPanel 3×2 in its Constant Output mode @3m / 9.9′.

Kelvin Vs MK-1

	Kelvin	Difference in K	MK-1	Difference in MK-1
SET VALUE	2500K	0	400	0
ACTUAL READING	2442K	68	409.50	-9.5 MK-1
SET VALUE	3200K	0	312.5	0
ACTUAL READING	3092K	108	323.41	-10.91 MK-1
SET VALUE	4500K	0	222.22	0
ACTUAL READING	4282K	218	233.53	-11.31 MK-1
SET VALUE	5600K	0	178.57	0
ACTUAL READING	5297K	203	188.78	-10.21 MK-1
SET VALUE	6500K	0	153.84	0
ACTUAL READING	6102K	398	163.88	-10.14 MK-1
SET VALUE	8000K	0	125	0
ACTUAL READING	7482K	518	133.65	-8.65 MK-1
SET VALUE	10000K	0	100.00	0
ACTUAL READING	9403K	597	106.34	-6.34 MK-1

These figures might look confusing, but what they tell me is that the light could be more CCT-accurate. Any MK-1 score that is under -9/9 means you wouldn’t have to use any color correction gels. A score under -6/6 is considered to be excellent. The results were fairly consistent across the board, but I was expecting better results for a high-end light. In saying that, you could simply alter the CCT setting to get better results.

CC INDEX & ⊿uv

	CC INDEX	⊿uv
2500K	0.3G	-0.0009
3200K	0.1G	-0.0014
4500K	0.0	-0.0001
5600K	0.1M	0.0016
6500K	0.0	0.0021
8000K	0.1G	0.0030
10000K	0.5G	0.0031

The ⊿uv scores were pretty good for this light. At 4500K, it had an almost perfect ⊿uv score.

The CC INDEX scores were also very, very good, especially from 3200-8000K. The consistency was good to see.

TM-30

TM-30 is a relatively new color rendering standard that was developed to deal with the limitations of CRI. TM-30 looks at 99 individual colors. These 99 colors are categorized into seven groups: nature, skin color, textiles, paints, plastics, printed material, and color systems.

TM-30 scores go from 0 – 100. The higher the score, the more accurate a light is at producing colors. Any TM-30 Rf score in the ’90s is considered to be good. What is interesting and something that you need to be very aware of is that two separate light sources with the exact same CRI scores can render colors very differently. A light with a high CRI rating could have a low TM-30 score. Conversely, a light with a good TM-30 score could have a bad CRI score.

Now, there are two measurements associated with TM-30, Rf and Rg.

• Rf (Color Fidelity)
• Rg (Color Gamut)

With Rf value, ideally, you want a score in the 90s.

With Rg value, a score below 100 indicates that the light source renders colors with less saturation than the reference source. So ideally, you want this score to be above 100.

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Above, you can see the scores for the Godox at various CCT settings.

Here are the results:

	Rf	Rg
2500K	93	102
3200K	94	102
4500K	94	102
5600K	94	101
6500K	93	101
8000K	92	100
10000K	90	100

The Rf scores are extremely consistent across the CCT range.

SSI

SSI (Spectral Similarity Index) was developed by the Sci-Tech Council of the Academy. SSI gives me the ability to set any light as a standard, or use predefined standards (such as CIE D55), and then give other lights an SSI score based on how well they will match standards such as CIE D55. This way, I can measure spectral response and compare it directly against an ideal light source. This is actually a much better test than recording CRI scores; however, a lot of lights have very similar SSI scores. Don’t believe for one second that SSI scores can tell you all you need to know about a light, because they can’t.

Profoto ProPanel 3×2 3200K

In this graph, the red bars indicate a perfect Planck 3200K source. The gold bars indicate a perfect 3200K Tungsten source. This lets us compare how close to a perfect 3200K lighting source the Profoto ProPanel 3×2 is. Any SSI score in the ’80s is very good for a 3200K LED light. As you can see, most LED lights have a hard time replicating colors below about 450nm.

As a comparison, above you can see the scores for the Creamsource Vortex8.

As another comparison, above you can see the same scores for the Rotolight Titan X2.

Profoto ProPanel 3×2 5600K

In the graph above, the gold bars indicate a perfect CIE D55 source. The red bars indicate a perfect CIE D 5600K source. This lets us compare how close to a perfect 5600K lighting source the Profoto ProPanel 3×2 is. A score in the low 70’s is typical for a 5600K LED source.

As a comparison, above you can see the same scores for the Creamsource Vortex8.

As another comparison, above you can see the same scores for the Rotolight Titan X2.

The main reason we want to record SSI scores is so we can see how well they match with other lights. As a test, I was curious to see how well the Profoto ProPanel 3×2 matched an Aputure STORM 1000c and Profoto’s own L600C that utilizes a different lighting engine. Below you can see the results.

5600K

As you can see, neither light is close to being a perfect match to the ProPanel 3×2. It shows you how different lighting engines, even from the same manufacturer, can result in lights that won’t match well together.

3200K

As you can see, at 3200K the lights were a better match than they were at 5600K.

Ok, so now let’s do another comparison at 5600K, where we see how well the ProPanel 3×2 matches itself when used with its optional SnapBag Medium and when plugged into a regular household outlet.

As you can see, it was almost a perfect match when using the SnapBag Medium and a perfect match when running from a regular household outlet.

SSI tests are a great way of telling you what lights you own or use will work well together. Having a device like the Sekonic C-800 lets you get the data you need to be able to fine-tune your lights to get them to more closely match.

Spectral Distribution

5600K

Above, you can see the spectral distribution of the Profoto ProPanel 3×2 when it is set at 5600K.

As a comparison, above, you can see the spectral distribution of the Godox Knowled P1200R Hard PRO when it is set at 5600K.

As another comparison, above you can see the spectral distribution of the Vortex8 when it is set at 5600K. As you can clearly see, the light has quite a full spectrum; however, there is a large green spike.

As another comparison, above you can see the spectral distribution of the Titan X2 when it is set at 5600K. The spectral distribution is reasonably full and there aren’t any big spikes.

3200K

Above, you can see the spectral distribution of the Profoto ProPanel 3×2 when it is set at 3200K.

As a comparison, above, you can see the spectral distribution of the Godox Knowled P1200R Hard PRO when it is set at 3200K.

Above, you can see the spectral distribution of the Vortex8 when it is set at 3200K. Again, there is a noticeable green spike.

As another comparison, above you can see the spectral distribution of the Titan X2 when it is set at 3200K. The spectral distribution has a slight push towards green, and it’s also missing some color information in parts of the spectrum. Although with +/- Green adjustment, you could easily correct this.

As another comparison, above you can see the spectral distribution of the Litepanels Gemini 2×1 when it is set at 3200K. As you can see, the Litepanels has a fuller spectrum when used at 3200K.

Real-World Performance & Quality of Light

As I always say, photometric scores only tell you part of the story. So do the scores from the Profoto ProPanel 3×2 translate into real-world performance? The photometric data can only give me scientific data, and it is much more important for me to see how the light looks and performs.

What is good to see is that Profoto doesn’t seem to have made much of a trade-off when it comes to color accuracy vs output. You can have your cake and eat it too.

It is often a fine line manufacturers have to walk when creating LED lights. It is all about give and take and creating the right balance. The Profoto ProPanel 3×2 certainly offers a very good blend of output and color accuracy. The SSI scores were good, and it performed well in most of the tests, but photometric scores only tell you part of the story.

The Profoto ProPanel 3×2 has a ton of output, and that allows it to be used for a wide array of lighting applications. While it is not a hard light per se, it has enough output that you could use it as one. It is also very good at creating a very large soft lighting source when coupled with modifiers.

The Profoto ProPanel 3×2 isn’t meant to be, nor should it be thought of, as an HMI or LED Fresnel replacement, as it’s a completely different type of fixture.

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Above, you can see some quick examples where I blasted the light through a room to simulate light coming from outside. As a reference for you, the light was about 6-7m away from where I was standing. I was also running it from a standard 100V wall socket, so the output was limited to 1550W.

The light is very capable of producing lots of output.

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Above, you can see some examples where I am using the ProPanel 3×2 with the optional Profoto SnapBag Medium and then getting punched through a 6 x 6 Silent Grid Cloth. This combination can certainly create a very soft lighting source.

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Above, you can see some examples where I am using the ProPanel 3×2 with the optional Profoto SnapBag Medium and the rectangular baffle.

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Above, you can see some examples where I am using the ProPanel 3×2 with the optional Profoto SnapBag Medium and the baffle that cuts the light in the middle.

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Above, you can see some examples where I am using the ProPanel 3×2 with the optional Profoto SnapBag Medium and the circular baffle.

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Above, you can see some examples where I am using the ProPanel 3×2 with the optional Profoto SnapBag Medium and another one of the baffles.

As I previously mentioned, the light is pretty heavy, and you need to take that into account when using it.

Look, this is not going to be a light for everyone, nor is it meant to be. It is large, heavy, and expensive. It is also arguably not travel-friendly, especially if you also have to carry around all of the accessories.

Firmware Updatable

The great aspect of modern LED lights is that manufacturers have the ability to implement new features and functionality through firmware updates.

Accessories

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There is a vast array of accessories available for the ProPanel 3×2.

Price & Availability

The Profoto ProPanel 3×2 retails for $14,995 USD. This price makes it competitively priced against its main competition, the Creamsource Vortex24, ARRI SkyPanel S360-C, ProLights EclPanel TWCXL, and Cineo Quantum II.

With modern-day lights (and this goes for just about any of today’s technology), the lifespan of the product is not going to be as long. That is not to say your light will become obsolete in 3 years’ time, but there will be something better that is bound to come along.

In saying that, a lot of today’s lights are receiving new features via firmware updates. This is something that increases their flexibility and feature set.

Below, you can see how the price compares against its direct competition. I have also included a lot of smaller-sized 2×1 style LED lights as a reference.

	Price
Profoto ProPanel 3×2	$14,995 USD
Creamsource Vortex24	$16,999 USD
ARRI SkyPanel S360-C	$16,580 USD
ProLights EclPanel TWCXL	$14,895 USD
Cineo Quantum II	NA
Godox KNOWLED P1200R Hard Pro	$5,290 USD
Godox KNOWLED P600R Hard Pro	$2,349 USD
ARRI SkyPanel X21	$5,950 USD
Creamsource Vortex8	$4,999 USD
Rotolight Titan X2	$1,699.30 USD*
ARRI SkyPanel S60-C	$2,898 USD*
Litepanels Gemini 2×1 Soft	$1,789 USD*
Litepanels Gemini 2×1 Hard	$1,998.50 USD*
Lupo UltrapanelPRO Full Color Hard 60	$2,798 USD
Lupo Superpanel PRO Full Color 60 LED Soft Light Panel	$2,698 USD
SUNNYXIAO CASTER CO2P	$3,399 USD
ZOLAR Vega 80C	$2,398 USD
Luxli Taiko 2×1 RGBAW	$1,449 USD*
Kino Flo FreeStyle 21	$1,870 USD
Kino Flo Diva-lite 20 DMX	$1,895.75 USD*
Velvet EVO 2	$3,839.04 USD
Nanlux Dyno 650C	$4,070 USD

*Is currently on special at B&H as of the 10th March 2024.

There is no sugarcoating the fact that this is an expensive fixture, but it is more affordable than the competing Creamsource Vortex24, ARRI SkyPanel S360-C, and around the same price as the ProLights EclPanel TWCXL.

There are a lot of very good 2×1 RGB panels on the market, so it could arguably make sense to buy multiple 2×1 panels instead of one large 3×2 one.

Accessories

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As I mentioned earlier in the review, the ProPanel 3×2 can be accessorised with a custom-made SnapBag, engineered together with DoPchoice, which features the industry’s first Profoto Speed Clamp system for rapid mounting

Conclusion

The ProPanel 3×2 is an impressive fixture that is capable of producing really nice light. It is not going to be a light for everyone, and it is more likely to be a rental item and something that will be used on large productions in arrays. For an owner/operator, it isn’t going to make a lot of sense given its physical size, power draw, and price.

The ProPanel 3×2 is solidly made and well-constructed light. It has IP65 certification, and it has been designed for the rigors of field use. It does look like a fixture that could last you a long time. It is still nice and robust, even though it weighs considerably less than most of its direct competition. It is also exceptionally quiet, which is a fantastic achievement given its size and power draw.

Having one versatile fixture that can be used in so many ways is certainly very appealing, but you do have to carry around all of those different accessories to make that happen. While you can run it via a normal household outlet, you can’t do it at full power, especially in countries like Japan.

The light’s CCT accuracy could be better, but the majority of the photometric scores were very good. The output, low weight, and quiet operation are certainly its biggest selling points. Yes, it is a niche light that is only going to appeal to a small sector of the market, but it is a very good alternative if you are looking at a Creamsource Vortex24 or an ARRI S360-C.