equipment weighing was installed in the vehicles. A 2.5K HMI Fresnel fixture was mounted to the metal bar that previously held the vehicle's backseat, and was fitted with an LSD ColourMag colour magazine and a dowser; a 5K fixture was originally used but had to be replaced after causing the car to melt after five minutes. Other fixtures installed were: a PAR-64 Ray Light reflector in the headlight bracket; two LSD Mirrorstrobes; eight Molefays behind the front bumper and four behind the rear; and ACL strips behind the radiator grid. Chain hoists were attached to brackets welded onto the wheel hubs, allowing the vehicles to be raised and tilted on their own axles. Several versions of the stage were used during the tour. Arena legs The first two legs of the tour in 1992 were indoors and used the smallest of the stages. The video system included four Philips Vidiwalls of video cubes, thirty-two monitors, and a projection screen center-hung from the front truss. The projection screen was used in lieu of an additional video cube wall that proved too costly; Williams called it the "first of many such compromises" during the tour. Dodds' video crew comprised 12 people: four camera operators, four staffers running computers in the front of house position, and four members underneath the stage controlling the video screens. Seven LaserDisc players were used. About of tracks were laid on top of the walkway to the B-stage for a camera dolly, which could reach a height of . For the arena lighting system, six Trabants were suspended above the stage, and a seventh Trabant by the B-stage doubled as a DJ booth and a mirror ball. Williams originally planned to use 12 cars but scaled back after the tour's video production expanded. The remainder of the lighting system was minimal, comprising 17 spotlights and a "couple of hundred" PAR cans. The ColourMags were controlled by LSD's Simon Carus-Wilson, who had worked with Williams on the Sound+Vision Tour. Two lighting trusses were used to illuminate the audience, consisting of ACL wash fixtures for "little pools of light", eight fixtures to initially brighten the venue, and ultraviolet wash light. The video screens produced enough backlight that few other fixtures were needed for the opening two songs of concerts. The lighting system was controlled with an Avolites QM180 console. The North American arena shows, many of which featured in-the-round seating,