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I assume you mean a spot color as an alpha channel. Have used it a couple times. I don’t understand people’s reluctance to use .psd Is the uncompressing at the rip really easier on it? Seems to me you’d be making it work harder. I’ll see if I can find some examples today about my issues with...

Also, really important when adding a “schmutz” layer to break stuff up. Do it at a 200 or 300% upsample, then take it back down to your optimal output resolution.

I really have half a mind to report bannertime and shoresigns for bullying me on this website! Psych! I could give a rat’s ass what two people on a forum think I know! Hilarious! Actually have seen both of you post intelligent solutions, but ok. I’m told it “doesn’t matter, look at how we do...

PSD does use a form of compression, but it alters the pixels differently and less than LZW...AND...you can utilize Adobe's non-destructive adjustment layers. The memory size of a tiff doesn't really have anything to do with compression, does it? I mean can't you save the same pixel dimensions...

Maybe "pointless" for banners...

Compression taxes every other step in your workflow, aside from the save dialog and on disk size. A billboard, sure. What about a backlit print for a tradeshow at the same size but at floor level? Still matter?

Who is not recommending .psd? Do they work exclusively in Adobe apps like 80% of the industry? With storage so cheap and transfer speeds so fast...WHY compress? Especially in grand format graphics! It’s archaic when it comes to digital inkjet printing.

This is why I don’t trust any compression. I requested native art and was denied. A bunch of vector generated gradients got flattened, compressed and embedded in Illustrator. It’s backlit, so all of these nasty bands will show worse. Especially the hard step to white.

Oh right...magic compression... Like I said, you’ll see it when upsampling. It’s “lossless” just like the printer manufacturers productivity speeds per their marketing brochures! ...or how you can make a Pantone to Pantone gradient. Adobe lets you, so it must be correct.

Will be noticeable in upsample.

LZW compression is as bad as jpeg...although people will say it's lossless... If it shrinks the file size...you're losing resolution. PSD compression scheme is the best.

The spindle on our EVO is steel with an air bladder to lock in the roll. I don't lock it in on fabric. I can stand on mine in the middle and it doesn't flex! I've used tubes to "ride" on the fabric in low tension gaps of the media path to help distribute the tension...

Welcome to the joys of printing direct on fabric! It really sucks when it hits 35 feet in to a 40 foot print! Is that a tension bar behind it? I've never loaded one of those printers, but I would weave it around that and in to the machine. When I print dye sub direct I have to use much less...

Do you have some unopened stock...that has been sealed from moisture?

http://www.adobepress.com/store/stop-stealing-sheep-find-out-how-type-works-third-edition-9780321934284 Here is a great book to give the sales schmuck...

Have seen this with stock that has too much moisture in it...

Honestly have never had some of these issues I see with rips on this forum. I currently run Caldera, but have run Onyx Postershop and Production House. (liked em!) I think Jmcnicoll says it best about it depending on the print driver. We run grand format so it's always been set up to just...

In building a spot color library, there was just an option to save a corrected version that got applied when the named spot came through the rip. We are doing more or less what you're sayingI just have a list of known corrections. We check when a new job comes in. If we don’t have it, I look for...

I believe I've found proof...yes actual proof, where Indesign is closing my color management loop. What we surmise is that indesign is baking this info in to emulate what the user sees on their monitor, therefor closing the color management loop. Here it looks like it embedded AdobeRGB98 for no...