fread error 22

[Carsten]

So I assume you create these files with a more or less current version of Premiere on a Mac?

[Richardfox]

So I tried the Prores 422HQ, same issue. This is waht I found common in the logs:

"WARNING: No codec found for stream 2"

Then:

"Could not open existing assets at..." (...specific pathway to the project file)

Dead!

[Carsten]

Does Premiere still support Quicktime Codecs in Windows? I thought they abandoned Quicktime in Windows a while ago?

What drive are you trying to create the DCP on - I assume your Quicktime file are on the same drive? USB? Format? Anything unusual about it?

The 'no codec found for stream 2' usually is nothing serious - in Quicktime pro codecs, this is mostly the timecode track that is of no use for DCP-o-matic.

[carl]

For what it's worth I would be surprised if your 'fread' error was anything to do with the input format you are using - I think it's much more likely to be caused by the drive you are storing your input and/or output files on.

[Carsten]

+1

There must be a problem with that drive or some OS/addon software functions dealing with it in a special way (DCP-o-matic e.g. used to have problems when projects were created within active MS OneDrive folders).
Could even be antivirus software.

[Richardfox]

UPDATE:

So, I discovered that the USB portable drive which stores the source file was malfunctioning, hence the fread error 22. I switch to using a powered portable drive and KAHBOOM! It worked flawlessly. The DPX files loaded in about 2 minutes from a 1TB folder. I now see that Carsten mentioned the drive being the culprit, so yes you are indeed correct, just wished I saw that response earlier

DPX vs ProRes 4444XQ (from Premiere Pro 2020):

I tested the DCP created using the subject ProRes, but noticed that the picture in the cinema was not sharp; an effect akin to being zoomed into. However, given that I was now able to load the DPX files into DCP-o-Matic, I created a new DCP and had it tested at the same cinema earlier today. The result was bright day light versus the night of the living Prores, as the picture was now perfect in terms of clarity. The only thing is that while the colours were correct, the saturation was down by an estimated 10%, which was the same with the ProRes. Nonetheless, I was very satisfied with the presentation.

Subtitles:

I used a srt file I created and burned them into the picture using DCP-o-Matic. I did however, reduced the offset and scale, -2 (moved upwards) and 70% for both X & Y. the original srt subtitles were created with a font size of 20 (Arial). Note however that the DCP is scope. Subtitles were clear and visible from the very back of the auditorium which seats 425.

Audio:

True peak at about -3.62 and LUFS at about -20.84 based on what I remember, but the whole numbers are -3 and -20 respectively. So dialogue was very clear and the general M&E mix level was very good. Perhaps I could have decreased true peak to about 4 and I believe it would be perfect.

Thanks again guys, I certainly appreciate your responses.

P.S. I had a discussion with the projectionist, and he was happy that it was a DCP-o-Matic file, as they also use it to create theirs. Projectors were Christie brand.

[Carsten]

Would be interesting to look into the blurry Prores issue. It shouldn't happen, but the again, these rare HQ codecs are a bit experimental as far as they are supported in the LIBAV/FFMPEG code that DCP-o-matic uses.