In this screenshot from a Martin Garrix Instagram story, he's "working on new show outro" and several of his plugins can be seen. Amongst them is FabFilter Pro-Q.

You can clearly see that he uses Pro-Q 3 in this video.

at 3:05 you can see Deadmau5's fabfilter plugins. Pro-Q 2 is among them.

At 0:08 into the video, Hardwell can clearly be seen using the FabFilter Pro-Q 2 plugin in his Logic DAW session.

On the Splice page of Tiësto's song, Secrets, it lists FabFilter Pro-Q Equalizer as one of the plugins used.

Used on Sheeran's vocals for Justin Bieber's "Love Yourself", as stated by Purpose mix engineers Josh Gudwin and Andrew Wuepper in this May 2016 Sound on Sound interview about the mixing of the title track and others.

“Below the trumpet section are Ed’s vocals, on which I have the [Avid] BF76 compressor and a channel strip, and at the top is his vocal bus, on which I have the FabFilter Pro-2 EQ. I also had the Bricasti on Ed’s voice, as well as a UAD LA2."

His Twitter post : "I feel like FabFilter Pro-Q 2 made me a better producer and, probably, a better human being spiritually."

In this video at 1:29:03 we can see FabFilter Pro-Q 3 Equalizer Plugin

Used on "Hymn for the Weekend", as mentioned by A Head Full of Dreams co-producer Rik Simpson in this Sound on Sound article.

“The guitars have the Soundtoys PanMan to give them some movement, and also some corrective EQ from the Pro–Q 2, and the UAD SSL E Channel strip, which is one of my go–to plug–ins, because it sounds so similar to the original SSL, a desk I was brought up on. There’s also an eBow guitar hook at the end of the song that has the Wavesfactory TrackSpacer plug–in, which side–chains the guitar to the vocal, so it clears the space when the vocal is present.

W&W used the FabFilter Pro-Q 3 EQ plugin in their track "The One," as shown in their Instagram post announcing the release of a new track.

Used on "Hymn for the Weekend", as mentioned by A Head Full of Dreams co-producer Rik Simpson in this Sound on Sound article.

It was very important to get the development and arrangement of the vocals right. Many of the 45 tracks are effect tracks. There’s only one lead vocal track each for the verses [LV Verse], for the bridge [LV Bridge], and the choruses [LV Chorus], and then Chris sang a number of bridge and chorus vocal overdubs. The main verse vocal has the Avid Channel Strip, which is taking out some low end, an SPL TwinTube, which adds some saturation, the UBK1 compressor adding more crunch, and the UAD Fairchild 670 and SSL E Channel. I don’t use a great deal of compression from each unit. I will just tickle it a little bit with each one, and each one adds a different characteristic. I could just add a whole load of compression from one plug–in, but like this it doesn’t sound over–compressed. The Pro–Q 2 is, again, a high–pass filter. In the sends there’s a Waves H–Delay that I recorded elsewhere, and sends to a main D–Verb and two QL Spaces aux tracks. I have different reverbs and delays for each part of the song so that the vocal sound evolves during the song.

“The main chorus lead vocal has the FabFilter Pro–Q 2 EQ, the Waves Rennaissance Vox, again the UBK1, two instances of the FabFilter Pro–DS de–esser, two instances of the UAD Pultec EQP–1A, and the FabFilter Pro–MB multi–band compressor. I like the FabFilter de–esser. I am still trying to find the ultimate de–esser, because it’s quite a hard thing to do right. I have two because one is doing high top sibilance, and the other lower stuff around 2kHz. The sends on chorus lead vocal go to aux tracks with the Waves H–Delay, the FXpansion Bloom with a lush, wide stereo delay, a small chamber from the QL Spaces plug–in, a mono delay from the UAD Echoplex, and several other delays. The sends to the delays are all automated independently, with different words getting different delays.

“One thing of note is that there also is a ‘Hope House M80’ vocal track, recorded when Chris was still using the Telefunken M80, and it’s mixed in very low. There’s also a lead-vocal double that has ‘251’ marked, indicating that Chris was also using that mic. But the main vocals were recorded using the Soyuz. There are two tracks marked ‘251 Melo Lead’ and ‘251 Melo Double’, again mixed in low. ‘Melo’ stands for Melodyne, and these tracks are raised two semitones. They were recorded in a different key for a different version of the song, and detuning them added a certain alien quality to these vocals which we really liked. At the bottom of the session are the Beyoncé vocal tracks, on which I mainly used the SSL E Channel strip, UBK1, L2, SoundToys Echo Boy, Avid ModDelay and the QL Space.”

This plugin can be seen at 0:43 into this video.