Likewise, there are no adjustment layers to apply non-destructive effects to all the layers below. Instead, I have to apply a separate grain modifier from the effects menu. But then I can’t add grain from the color menu on top, because that’s part of the color adjustment options. I can adjust color and then apply an effect, like a Gaussian blur. For instance, the hierarchical order of applied processes is fixed. If you come from graphics applications like Photoshop, then Pixelmator Pro takes a bit of readjustment in your workflow. When selecting an image for importing onto a new layer, one option is to pick from collections that you’ve curated in one of these two applications. Another tie into macOS is the integration with photo libraries from Photos and/or Aperture. The background layer and layers with camera raw images are not renamed. Most of the time, the automatic naming was close enough, but you can always change it yourself. An image of the sanctuary in the Notre-Dame Basilica of Montreal was named “stained glass”. I imported an image of a large metal artwork and it was named “sculpture”. When you import a photo to a layer, Pixelmator Pro takes a best guess at what the image contains and names the layer accordingly. Machine learning drives automatic layer naming. With raw files, color adjustment tools continue to be available even as other manipulation is done. For example, I was able to import images from a DJI image sequence, but not a Blackmagic Design URSA camera. Most camera raw formats, including DNG, can be imported however, compressed raw formats aren’t recognized. Multiple raw files can be placed onto separate layers. Camera raw images are processed in their native state, without the need for an image development step before you can work with them. Little impedes your interaction with the interface. This keeps the starting point simple, with an easy way to add more tools, much like Aperture did in the past. Click “Add” at the top to expose more possible modifiers for that tool. Whenever you select a tool like “Adjust Colors”, specific control parameters appear, along with thumbnails of your image using one of the built-in presets. Additional tools and controls can be accessed from the main menu, as well as from a pulldown at the “+” sign in the upper left corner of the interface window. Layers are shown on the left edge of the interface with tools down the right edge. You can quickly show/hide controls and bounce between a windowed and full screen display of the image to maintain the best focus on what you are doing. The original Pixelmator interface was colorful with floating windows and tool palettes, but Pro takes on a more integrated and flatter design. Much like Apple’s own software, Pixelmator Pro features a pleasing user interface with a streamlined layout. This excludes legacy Mac Pro towers, because they aren’t capable of Metal 2, in spite of being able to install and run High Sierra. Pixelmator Pro taps into some features available through macOS High Sierra (10.13), like Apple’s Metal 2 GPU image processing and machine learning via Core ML. By being designed only for the Mac platform, the Pixelmator developers can optimize their applications for Apple-specific technologies. Pixelmator Pro is intended to appeal to users who want the power of Adobe Photoshop, but without the subscription and at a more attractive price. Like its predecessor, Pixelmator Pro is only for macOS and, in fact, this version requires High Sierra or newer. Although both products co-exist, future development is now directed to the Pixelmator Pro product with an iPad version to come. To close out 2017, the developers are back with Pixelmator Pro, a next generation version of the original. Pixelmator made a big splash among Apple’s Mac App Store offerings when it was first launched.
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