If you're advocating speedlights as the weapon of choice for shoots like the one I imagine being described here, then I think that's poor advice. I can't think of a single benefit, but quite a few downsides - slow recycle leading to missed frames or underexposed frames, no modelling lamp, danger of over-heating and shut-down (or even meltdown), potentially underpowered. Speedlights are not even easier to transport as its the stands and softboxes that are the big items (though your Bowens heads may be quite hefty).
Not advocating them, just saying what I use. I swapped from the Bowens (yes, heavy bastards) to Speedlites for most mass-headshot type jobs because it just made sense for me.
Much easier to transport: Tiny lights obviously in comparison. Safe to use smaller stands. No cables. Smaller, lighter modifiers, etc. etc.
Easier to pack down and shift halfway through the day if need be, because the venue has ballsed up their planning.
Fewer OH&S issues: No cables, no hot lamps, no mains electricity. No dealing with venues who insist everything has PAT certificates (or whatever they are here in Oz) before it's plugged into their wall.
So far, zero connectivity issues, compared to my Skyports which were a consistent pain in the arse. (That's even more personal of course as there are myriad ways of connecting any kind of light, that's just what I had).
Of course, recycling is instant (doesn't happen) if you're not shooting on full power, same as any light.
Works for me for most of the work I do. Then I take studio heads to the jobs that require them. Simple enough.
Anyway, back on topic, how about those Profotos? They, or something similar are likely going to be on my shopping list in the not too distant future.
