In fact, the Simplex PR-1014 has even been improved a bit in the last couple of years....the intermittent shoe is now mounted on a sub-assembly so it can be more precisely adjusted to mate up with the intermittent once the gate closure depth has been properly optimized. With single lens systems, you can still get one of my favorite options, the fire douser...if the machine isn't running up to speed...no light passes though.

As to the advantages of turrets....

Sure there is concern over dropping lenses but how about people installing the lenses correctly or twisting the scope attachment as they slam and twist the lens into prosition?

With turrets you can adjust for keystoning to some degree without a PC adapter so both or all three images are centered. If you have top only masking (not that I am advocating the practice) you can accomodate the shift in vertical center with the turret.

I much prefer single lens machines and all of the turrets advantages can be negated with the appropiate apparatus with the single lens and a competent operator.

However, it is not the manufacturers that are "pushing" the turrets on the exhibitors it is the exhibitors that buy what they feel suits them best and the manufacturers are simply supplying what they want. If the exhibitors want turrets, then the manufacturers will make turrets...it is that simple.

Steve

I do think the advantages of turrets make them a worthwhile purchase.

I have been involved with cinema in the UK for the last 20 years. Nearly every multiplex in the UK has a twin turret. Over here, screen advertising (Pearl & Dean / Carlton Screen Advertising) is exhibited before the trailers. All screen advertising is in 1.85:1. Occasionally we get 'scope trailers attached to the start of features, but in the majority of cinemas, they are removed, and a non-anamorphic version is substituted in the 'ads and trailers' package. Even the American company National Amusements, who have about 15 theatres in the UK follow the 'UK norm' of screening advets prior to the trailers. I guess the revenue makes it all worth while. I know, when I used to run the cinema at my University we used to get about £7000 a year for screening ads. How come this doesn't occur in the States? Or does it? I'd be interested to hear your comments.

Many theatres run slides before the feature. some even run rolling stock ads, but they aren't nearly as good as the ones made for the British cinema. I sort of like your system.