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Perhaps a rental-only item for many, the 2000W Profoto ProPanel 3×2 sports an IP-65 rating, 4-zone pixel mapping, a range of 2000K – 15000K CCT, and a variety of control methods, both wireless and wired. Oh, and it just might be the “brightest LED soft panel ever made.” Is this the one light to rule them all? Let’s illuminate.
Before I launch into my review of the Profoto ProPanel 3×2 (occasionally referenced in the wild by its model number LP2000, but we’ll stick with calling it the 3×2 here), let’s take a moment to look back at a bit of soft panel light history for the lighting nerds out there.
For myself, and I expect for many other cinematographers, the 200W ARRI Skypanel (first launched in 2015) was a transformative light in our careers. At the time, it felt like it had everything — RGB color, ample accessories, a relatively low power draw, and a wide range of features that meant physical gels were an accessory of the past. Skypanels were expensive, but they dominated the major film markets upon emergence. When you wanted a soft panel LED light, you asked for a Skypanel.
Now, things are different for ARRI and the entire film industry. There is an opening for others to find a spot at the top of the LED lighting segment in commercials, film, and television. Among those vying for that spot, there are now many, many lower-cost LED lighting companies, making it a much more crowded segment. Lighting engineers have now had over a decade to try to replicate the specs and success of the OG Skypanel.Alongside all of this innovation (and copying others’ innovations), there have also been fluctuations in the number of platforms, crew sizes, and how many projects make it from green light to finish line. With the industry in such flux, I must pose the question if a $14,999 LED soft light panel has a place in that top tier, when the suits that pull the purse strings are pulling even tighter in these uncertain times — impressive 2000W punch aside. No one can argue this is a unique (and record-breaking?) product. Profoto made the gutsy decision to truly go big.
So is the output worth the input of your hard-won dollars?
First, let me list a few of the key specs that stood out for me here, and then we’ll unpack it all:
As in my review of the recently released Profoto L600C, I’m struck by how minimalist the exterior of the Profoto ProPanel 3×2 looks out of the box. The engineering team could have added all manner of connection ports, muddying up the outside of the lamp head, and instead they added just a few: USB, DMX-in, DMX-out, and a locking powerCON connector. If anything, this is a reflection of just how many wireless control options there are in the 3×2. (More on that later.)
At 28.5 kg or 62.8 lbs, the lamp head is certainly beefy and is safer lifted by two. I found it manageable to move around on my own with care, but true heroes take a helping hand, friends. It goes without saying that a combo stand, at a minimum, is required to mount the 3×2. Bonus points for wheels. However, do keep in mind there is no pesky external ballast.
Perhaps a small factor, but one that I appreciate compared to other instruments: the 3×2 can easily stand on its side on the ground without the need to rest it in awkward positions that could result in damage to buttons or the casing. This is thanks to its boxy design and protective pads and pipe on all sides that extend beyond the lamp head itself.
I was able to easily attach the included yoke to the lamp head, and both handles are simple friction mechanisms with a standard 1-1/8″ Junior pin at the base. I encountered zero slipping from the yoke throughout filming, and you are able to easily achieve all sorts of different angles, including mounting in portrait mode, if desired. In short, the 3×2 lamp head design never fought me when rigging.
Five large fan units dominate the back of the ProPanel 3×2. These cooling fans are a part of a patent-pending technology created by Profoto called “CTech.” Not much information is available online explaining how CTech operates, but I’m guessing the primary design considerations were weight-to-cooling ratio and reducing the overall noise.
Speaking of fan noise — you can select “Max” when filming in hot environments or “Silent” in a cooler environment. (Silent mode will limit the light output to 200W, however.) In practice, I never noticed the fans when set to “Auto,” and I never heard any of that distracting ramp-up or slow-down noise either, which some fixtures are prone to when set to Auto.
The 3×2 is easy to pick up the first time and just throw into use on your next production after a 5-min firmware update. Considering the range of features, it’s impressive how streamlined and approachable this fixture is right out of the box.
We should tackle the question of powering the “brightest soft LED panel in the world,” and thankfully, the 3×2 can be powered off of household power as noted by Profoto as long as you can meet the minimum 10A fuse requirements at 200-240Vac or 15A at 100-120Vac, but there is a tiny caveat for USA-based crew.
The Profoto ProPanel 3×2 ships with a PowerCon NEMA 5-20P plug to users in the United States to comply with regulatory law. I’ll be the first to say I’m not a gaffer or electrician by trade, but the NEMA 5-20P cable will physically not allow users to accidentally plug into a standard 15A household outlet (it won’t fit). Note – there are some rare dual-purpose outlets in the US that allow for both 15A and 20A plugs interchangeably.
There is a workaround — you could use an Edison NEMA 15A PowerCon cable in a regular home, and hop into the menu and limit the input, and thus limit the overall output, too. Alternatively, you could use an affordable 20A to 15A adapter. This gives you added flexibility for filming in all types of different environments with a variety of available power inputs.
The ProPanel 3×2 power input setting is set to “Auto” as standard in the menu and will detect the power input and throttle down or up as necessary to avoid tripping a given circuit. I wish that Profoto would tell you in the menu what “Auto” was detecting and limiting the wattage to, but currently, you can only see your wattage indicated in the upper left of the main menu (when you directly select 1600W or 1200W and so on).
Profoto lists the power and current consumption at a max of 2,200W / Max 17.7 A in their posted technical specs.
Filming on location? A few different block batteries can handle the power draw of the ProPanel 3×2, but Profoto particularly calls out the Instagrid ONE MAX as a capable battery for getting the juice to a single 3×2.
At the end of the day, anyone filming in a studio or on a soundstage won’t have to worry too much about having access to 20A power. You’ll also find 20A outlets in many laundry rooms or kitchens.
Finding true “soft” LED panel competitors to the Profoto ProPanel 3×2 is tricky because of its native 120-degree beam angle and 2000W power. The highest output competitors in the LED panel space tend to have significantly narrow beam angles– thus creating “harder” and higher output sources, and that makes for a tricky direct comparison. Here are a few that come close.
At a glance, we could say that Creamsource is the closest to the Profoto ProPanel 3×2 with their significantly heavier and pricier Vortex24. That comparison isn’t perfect because of the distinct differences between the two fixtures, including the number of pixels.
There is also a healthy debate to be had about “stacking” multiple smaller panels together (in the case of ARRI’s X23s) to achieve a larger fixture, which is really a good 1:1 comparison to the ProPanel 3×2. Litepanels enters the chat by selling arrays of their 2×1 Gemini fixtures united in a cluster of four. That configuration will run you about $23,560.The S360 Skypanel-C (while significantly heavier at a whopping 163lbs) does come close to the 3×2 in terms of beam angle and power, but that +100 lb increase is a rough tradeoff for the output.
In short, the Profoto ProPanel 3×2 really is in a league of its own and wins the output-to-weight ratio compared with competitors at a more affordable cost.
Without treading too far into the various meanings of the IP rating system, the 3×2 luckily has an IP-65 designation that means the lamp head is protected from “low pressure jets from any direction” and is “dust tight.” This isn’t quite as robust as the IP-66 rating for the ARRI Skypanel X series. Any crew using a 3×2 in the rain could do so without much concern or need for additional weather protection.
Rugged weatherproofing is notable because I see leaning on the 3×2 while shooting outdoors, or lighting interiors by placing this instrument outside a window. Being able to set a light outside a window on location and know it is protected is a big deal for me, and I expect it is for most G&E/Camera departments out there.
However, who are we kidding? If you spend $15K on a light and it starts to rain, you’re probably throwing a tarp over it, no matter what your budget is.
The bright rear screen is easily viewable in daylight. The display brightness can even be dimmed in the event that you are seeing unwanted reflections in your shot. Profoto clearly put a lot of thought into how best to navigate the UI and the menu system as a whole. There are two main control knobs to scroll around. It’s all very quick and intuitive. No settings feel buried or out of place
The ProPanel 3×2 features built-in 5-pin DMX, Timo-Two CRMX, Bluetooth, and Profoto Air control. Simply turn on “Wireless” or “Bluetooth” in the menu, and you are good to go.
Firmware is easily updated over Bluetooth, but you could use the USB port in a pinch for updates, too. Profoto appears to regularly release firmware updates, which creates the impression that they are always optimizing.
You could also use the Profoto Control Desktop app as well, but that is a very similar user experience to the phone app — just with more visible real estate — up to you and your workflow– both work great.
You can’t control the 4 different pixel zones of the 3×2 independently in the Bluetooth Profoto app at this moment. Profoto is planning to add that functionality in a future firmware update.
I try with all my reviews to give you a sense of my point of view: I’m a union Director of Photography, most often working out of my home base in Southern California. However, I also travel about 50% of the time and have to take gear on planes. For the last decade or so, I’m rarely ever a “one man band.” This Profoto ProPanel 3×2 is not aimed at solo users.
That’s not to say the 3×2 couldn’t be handled on a set by a single person operation. It would probably be overkill if you are running both audio and video on a small corporate video shoot. That said, take what is useful for you and set aside what isn’t.
Let’s circle back to the subject at which we all love to shake our fists: the price. At $14,999, this is a rental item for most. Owners of a sizable G&E truck may enjoy having one or two of these onboard. Rental houses and studios will love the ProPanel 3×2 simply because of the output, wide range of wireless control options, and sturdy build quality, mixed with a very buyer-friendly 3-year warranty that Profoto offers with the purchase. (Compare this to other lighting manufacturers offering a single year or 1.5 years warranty at most these days.)
Given the weight and overall dimensions (and current lack of a molded foam hard case for transport), I wouldn’t call the ProPanel 3×2 an airline-friendly option. For something more air-travel-friendly while staying within the Profoto family, I’d suggest the L600C with a softbox.
Want to make your own road case solution for the ProPanel 3×2? Profoto provides the CAD drawings for free HERE.
Only time will tell, but this fixture makes me feel the way I did about the original Skypanel back in 2015. It feels like an answer to a question you didn’t even know you had. It will work forever on my projects and never skip a beat. Long after the investment recoups its kit fees or rentals, it will likely keep on trucking for many years.
Of course, Profoto has an education hurdle with the “pro” user base. They are at the beginning of convincing Gaffers and DPS that they are firmly planted in the pro cinema LED segment. Hopefully for them, those folks will begin requesting more Profoto rentals, but they have a ways to go. Profoto will also need to provide solid service options across the major global film markets. I’m seeing more and more lighting brands take hits online for long response and service turnaround times.
Usually, I don’t care for accessories directly made by lighting fixture manufacturers. Instead, I’m drawn to 3rd-party providers like DoPchoice or Chimera because they offer better build quality and faster setup times. Sadly, they are also often more expensive.
Lately, though, lighting manufacturers have upped their game after one or two generations of dubious accessory launches. I really don’t love taking risks on new diffusion or grids when I know exactly what my long-vetted pieces of kits are going to do to shape, filter, or diffuse light.
You can imagine my welcome surprise then, when I first opened Profoto’s softbox designed for the ProPanel and learned it was built in collaboration with DoPchoice. Trust me when I tell you that most of my other softboxes and grids have eventually broken or frayed over time, with the exception of my DoPchoice accessories — there is a reason they are a rental house standard.
The $995 SnapBag M (4.5×4.5′/140×140 cm) uses a proprietary “speed clamp” system for mounting to the ProPanel. It took me a second to figure it out, but once you get the hang of it, there is much to like about the system. I was worried the speed clamp would slip or be prone to breaking, but it doesn’t feel fragile at all. Plus, a solo operator could mount the full softbox with zero assistance by simply affixing one clamp at a time.
The little plastic piece in the middle of the speed clamp is a locking mechanism that allows the clamp to expand and then securely lock down to the exterior of the 3×2. It is simple and well-engineered. I’d love to see that idea expanded to future Profoto products.
In fact, this clamp softbox system feels faster to build than the circular style of softboxes most often associated with Bowens-mounted fixtures. Expanding those other circular softboxes just takes time.
The compatible grid called the SnapGrid M (also a DoPChoice collaboration) will set you back an additional $695 and will narrow your beam spread from 120 degrees to 40 degrees. It is also very fast to add to the front of the softbox and relies on industrial-strength velcro to affix to the SnapBag M. I panned and tilted the 3×2 all over the place during testing, and the accessories never slipped once.
Want to widen your beam angle while softening? Profoto also makes a separate dome diffuser accessory for $350.
I also want to highlight an interesting accessory solution from Profoto. The $149 Profoto Mask Kit (see examples below) allows you to cover different portions of your ProPanel softbox to shape the light on your subject in unique ways.
I’m especially interested in how the Mask Kit changes the quality of the light on faces and how helpful it is for control during product shoots. It does feel like a more elegant solution for precise control versus building a whole maze of small flags.
I grabbed a few measurements on my Sekonic C-700U Spectrometer with the latest firmware (now updated with the C-800U) to see how accurately the ProPanel 3×2 handles color temp measured in Kelvin and output (lx or fc) from a distance of 3.3 ft (1 meter) in CCT mode, keeping in mind the wide 120-degree beam throw. All testing was completed at the full 20A, 2000W power input with output set to “Max” rather than “Constant” in the menu.
Aiming for a target of 5600K, we ended up reading a 5601 out of the fixture — about as perfect as it gets. These are also blinding output numbers.
For comparison, the manufacturer provided Vortex 24 output numbers at 5600K at 3.3 feet: 96,350lx (the Vortex 24 has a significantly narrower 20-degree beam angle, giving that light an advantage in output but creating a much, much harder light quality).
Now for a test with 3200K as the target:
A reading of 3171 is again excellent accuracy, given the aim for a 3200K target. The output is also fairly consistent compared with the previous 5600K test (not always the case in my past tests).
Finally, the above graph asks how the ProPanel 3×2 fairs when we look at how it replicates color accurately. With a target of 5600K, these results are excellent.
Want to compare these results with the L600C? Check HERE. Comparing a soft panel to a COB light is a bit of an apples-to-oranges pairing, but considering we just reviewed another Profoto product, some of you might be curious.
I brought the Profoto ProPanel 3×2 to a lighting workshop I was teaching in LA, and it was interesting to see the reactions from attendees who ranged from multi-decade DoPs to Creative Directors. Any initial skepticism eventually gave way to interest about the creative potential for the ProPanel series — and that was without any prodding from me. How you may feel about the cost or about Profoto as a newcomer to the cinema space, this light is a head-turner.
The ProPanel 3×2 is aimed at larger commercial, film, and television projects. We are already seeing these fixtures end up on larger scripted productions such as the new Superman film and the Baywatch reboot, DP’d by the talented Alicia Robbins. Early Skypanel adoption in 2015 went much the same way — a handful of cinematographers would add a few, and then they came to regard them as staples. Then the trend caught on and on until even smaller productions had access to what became the flagship LED instrument at the time.
For those looking to demo or rent the Profoto ProPanel 3×2, you can already find the fixture at Panalux in Europe and MBS in America.
What do you think of the Profoto ProPanel 3×2? Or of Profoto’s entry into the cinema lighting industry as a whole? Let us know in the comments below.
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Emmy winner, Graham Sheldon, resides in Southern California, where he works as a producer and director of photography. He is a member of the Producers Guild of America and ICG Local 600.