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Description
WiebeTech RTX RTX110-3Q Drive Enclosure - USB 3.0, eSATA, FireWire/i.LINK 800 Host Interface External - BlackExplore a versatile, high performance external drive enclosure that adapts to your evolving data needs. The WiebeTech RTX RTX110 3Q brings together USB 3. 0, eSATA, and FireWire 800 (i. LINK) connectivity in a single compact enclosure, with USB 2. 0 compatibility via the USB 3. 0 port for older devices. Built for professionals who demand speed, reliability, and flexible workflows, this external housing is ideal for video editing, backups, media
Explore a versatile, high-performance external drive enclosure that adapts to your evolving data needs. The WiebeTech RTX RTX110-3Q brings together USB 3.0, eSATA, and FireWire 800 (i.LINK) connectivity in a single compact enclosure, with USB 2.0 compatibility via the USB 3.0 port for older devices. Built for professionals who demand speed, reliability, and flexible workflows, this external housing is ideal for video editing, backups, media libraries, and cross‑platform projects. Its TrayFree trayless bays simplify drive installation, letting you swap drives quickly without tools, while the black enclosure presents a sleek, understated look for any studio, edit suite, or workstation.
- Multi‑interface versatility for maximum compatibility: Connect to almost any host with USB 3.0, USB 2.0 compatibility via the USB 3.0 port, dual FireWire 800 ports, and an eSATA port. This mix of interfaces ensures you can pair the RTX110-3Q with a wide range of devices—from modern laptops to legacy systems—without sacrificing performance or workflow efficiency. Whether you’re transferring large RAW video files, backing up critical projects, or expanding your on‑set storage, the RTX110-3Q adapts to your environment and keeps your data moving quickly.
- TrayFree trayless bays for tool‑free drive upgrades: WiebeTech’s TrayFree bays are designed for ease and speed. Slide in a drive and secure it without screws or caddies, enabling rapid field upgrades, maintenance, and replacements. The trayless design reduces downtime during shoots or post‑production, so you can focus on your work rather than fiddling with hardware. This feature also reduces the chance of alignment issues and minimizes moving parts, contributing to long‑term reliability in busy studios and on‑location shoots.
- Cross‑platform, plug‑and‑play workflow: The RTX110-3Q is engineered for straightforward setup across Windows and macOS environments. Connect via your preferred interface and the host OS should recognize the volume quickly, allowing immediate data access. The enclosure supports a wide range of storage configurations—ideal for delivering backups, expanding media libraries, or serving as a fast scratch disk for editing timelines. With its multi‑interface design, you can switch between workstations, partners, or studios without hunting for adapters.
- Durable, professional build for demanding environments: In black finish, the RTX110-3Q presents a clean, professional look suitable for edit bays, production trucks, or data centers. The external enclosure is designed to endure regular transport and on‑set use, providing robust connectivity options in a single, compact unit. The combination of USB 3.0 speed, FireWire 800’s legacy compatibility, and eSATA’s direct SATA link makes this enclosure a reliable cornerstone of a modern data workflow, capable of handling long recording sessions, large backups, and continuous data streams.
- Streamlined data workflows with flexible connectivity and expansion: By integrating USB 3.0, USB 2.0 compatibility, FireWire 800, and eSATA in one enclosure, the RTX110-3Q minimizes cable clutter and simplifies asset management. It’s well suited for professional video and photo pipelines, backups to external storage, and archival tasks where speed and reliability matter. The trayless design accelerates routine operations like archiving, cloning, and swapping drives between projects, helping teams stay on schedule and deliver results faster.
Technical Details of WiebeTech RTX RTX110-3Q Drive Enclosure
- Interfaces: USB 3.0 (backward compatible with USB 2.0 via the USB 3.0 port), dual FireWire 800 (i.LINK), and eSATA. This combination supports diverse hosts and workflows, from contemporary laptops to legacy systems that still rely on FireWire.
- Drive Bays: TrayFree trayless drive bays for quick, tool‑free installation and replacement of SATA drives. This design reduces setup time and simplifies maintenance in busy work environments.
- Enclosure Color/Finish: Black exterior for a professional, low‑profile appearance that fits into any studio, office, or data center setup.
- Form Factor: External drive enclosure designed to house standard SATA hard drives or SSDs, providing portable storage with multi‑interface connectivity.
- Compatibility Notes: Optimized for cross‑platform use, enabling data transfer, backups, and media work across a range of operating systems and device families through USB, FireWire, and eSATA interfaces.
How to install WiebeTech RTX RTX110-3Q Drive Enclosure
- Prepare your drive: Ensure you are using a standard SATA hard drive or SSD that is compatible with external enclosures. If you plan to format the drive, format it to the desired file system (for example, NTFS, exFAT, or HFS+ depending on your OS) before installation to avoid data loss.
- Access the trayless bays: Open the RTX110-3Q housing to reveal the trayless drive bays. The TrayFree design means you won’t need drive trays or screws to install the drive.
- Install the drive: Align the drive with the trayless bay and slide it in until it seats securely. The trayless mechanism should hold the drive firmly in place without the need for tools.
- Connect the interface cables: Choose your preferred connection—USB 3.0 (or USB 2.0 via the USB 3.0 port), FireWire 800, or eSATA—and connect the appropriate cable from the enclosure to your host computer. Ensure the connection is snug and the cable is free from tension to prevent accidental disconnections.
- Power and recognition: If your setup requires external power, connect the power supply to the enclosure. Power on the enclosure if necessary and turn on the host machine. The operating system should recognize the new drive, mount it, and present it as a removable volume ready for use.
- Format and use: If needed, format the drive within your operating system’s disk utility. After formatting, create folders, organize your files, or begin transferring data. You’re ready to work with high‑speed storage across multiple interfaces and platforms.
Frequently asked questions
- Q: What interfaces does the RTX RTX110-3Q support? A: It supports USB 3.0 with USB 2.0 compatibility via the USB 3.0 port, dual FireWire 800 (i.LINK), and eSATA.
- Q: Does it work with USB 2.0? A: Yes—USB 2.0 functionality is available through the USB 3.0 port for devices that require it.
- Q: What is the TrayFree trayless design? A: TrayFree means there are no drive trays or screws required; you can install and remove drives quickly and with minimal effort, which speeds up maintenance and upgrades.
- Q: Is this enclosure suitable for professional workflows? A: Yes. Its multi‑interface connectivity and trayless bays are well suited for video editing, photography, backups, media libraries, and cross‑platform data transfer in professional environments.
- Q: How do I install a drive in the RTX110-3Q? A: Follow the installation steps in the How to install section: open the enclosure, insert the drive into a TrayFree bay, connect the desired interface cable, and power on or connect to the host to mount the drive.
Shipping Notes
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Exchange/Return Notes
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4.8 ★★★★★
Based on 9 reviews
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Product Reviews
★★★★★ 5
BLU RAY is the 132 minute Original U.S. Theatrical Cut FINALLY!!!!
]
On this Blu-ray for the first time ever we get the ORIGINAL 132 minute version of the film as was shown in U.S. theaters.
(Note: This is NOT the "Love Conquers All" Sheinberg/TV Edit.)
All the DVD releases before this have been the European Version/Director's Cut of the film. Even the original Universal DVD release that said Theatrical Cut on the box actually had the European Version/Director's Cut.
Unfortunately, Universal didn't really spend any time cleaning up the negative for Hi-Definition (there is very noticeable instances of dirt and debris on the negative) but it still beats the image quality found on the Universal SD DVD, and they do include an amazing DTS-HD Master 5.1. We'll just have to wait for the Criterion Blu-ray of Brazil for image perfection but serious fans of Brazil will want to get this Blu-ray edition just to have this version of the film as it was originally seen in theaters in 1985.
I actually find this 132-minute version is in many ways a superior cut of the film. Here are the differences in detail:
*In the 132-minute version you cut from Sam in bed with Jill, police sack goes
over head, then CUT TO Pull off police sack to reveal Sam in Torture
Chamber/Interrogation chair. This one cut is simply brilliant and very powerful.
In the Criterion Version you have the added scene of Mr. Helpman as Father
Christmas (completely out of charcater from the rest of the film) and the whole
interrogation scene of Sam hanging from the rack inside the police/mail pouch
which becomes narratively redundant and dilutes the impact of the final scene.
*To end it with cooling tower/interrogation room fade to clouds was a great Gilliam
wink of subversion and irreverence to the cliche Hollywood Ending. As opposed to
the European cut of just credits over cooling tower/interrogation room.
*The Samurai Scene is divided into 3 separate scenes in the 132-minute version
versus 1 LONG scene in the European cut. And you know what? Like most things,
it works better in 3's.
*The 132-minute version cuts straight to the Dinner Scene with Ida (his mother)
ordering numero deux, trois, etc. while the European version has the entrance to
the restaurant of going through the metal detector which really doesn't add
anything and is again a bit redundant when the bomb does eventually go off in
the restaurant. With the scene, you're signaling to the audience we are looking for a bomb, so we expect a bomb. Without the added scene, the bombing is unexpected and it actually shocks you so you're both horrified and laughing. The unexpectedness also works as it builds upon the bomb motif from the first explosion at the beginning of Brazil during the Ducts advert.
*And finally I just love that the 132-minute version opens on those clouds (outtakes
from The Never-Ending Story) then goes to the Central Services advert about
Ducts: "Are your ducts old-fashioned, out-of-date... " Now the Criterion version
also has the clouds opening (The Original European Cut didn't) but it's funny
because the Studio asked Gilliam to start off with the clouds for the US Cut and he
actually prefers it as quoted in his Director's commentary. Hilarious.
Little changes that add up to a tighter and overall, better film.
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Reviewed in the United States on July 12, 2011
★★★★★ 5
Great cast; well directed
Great movie; lives up to its reviews
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Reviewed in the United States on March 25, 2026
★★★★★ 5
An ageless classic !
I hadn't re-watched this movie since the first time I saw it, when it came out in 1985. Back then, it had stricken the public with its fatalistic and pessimistic view of an overwhelming bureacracy, a suggested characteristic of fully-centralised power in a controlled society in the future.
Today, we can still admire some of its validity and premonitory qualities (and the sarcastic humour !). The dream-like scenes and symbols used in the film are also ageless.
Ever-growing computer systems govern today the relationships we hold with banks, government departments, utilities, phone companies, etc. Who hasn't experienced the frustration of dealing with their 'machines' and/or incompetent & robotic bureaucrats when problems or errors arise in their service? 'Brazil' will seem so familiar!
The omni-presence of screens in our lives, everywhere and incessantly offering us products or services, or used to control our movements and behaviour, is also a well-guessed futuristic scenario by Gilliam & co.
And what to say about the 'terrorism' and the 'permanent state of fear' portrayed back then? Sounds familiar today?
I recommend this movie to anyone interested in the threats of an unbridled, arrogant and all-powerful bureaucracy in human society.
The film can be a bit 'heavy' at times, though. Not everyone's cup of tea.
Watch it first, before sharing with friends or family.
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Reviewed in the United States on February 19, 2012
★★★★★ 5
The music is lovely, Catherine Deneuve is beautiful and the story will tear you apart.
The word "Masterpiece" is thrown about often in the worlds of film and music but in this case this is the real thing. The Umbrellas of Cherbourg is one of those rare instances where everything came together in a film in a serendipitous way that would never be duplicated. Not only that, but made by two up and coming young men who had only done two films before with a cast of mostly unknowns. Then, to top it all off, it would not just be a musical, but a film sung completely through like opera, something completely unique and untried. Try selling a concept like that to one of today's studios. Fortunately the early sixties was a much looser time with many movie studios and open minds willing to try new things.
The director was Jacques Demy, whose first film, Lola (1961) included music but was shot in the more usual black and white. His co-creator was Michel Legrand, already known as a jazz pianist who had had hit albums and even toured America. The music would be light,, but not operetta; it would be updated to include strong influences of chanson, pop and jazz with a little Baroque counterpoint thrown in (Legrand had been classically trained). This time the film would be shot in super-saturated color with sets painted vibrant, almost expressionist colors. And it all would center around a young and virtually unknown Catherine Deneuve and Nino Castelnuovo as Genevieve and Guy, the very personification of young love in a rainy Spring.
The resulting film is completely transporting. The story is very old, the treatment very new and the end result is something to be experienced. The singing somehow seems completely natural, more natural in a way, than films with spoken dialogue that break into songs from time to time. Here in a world of continuous music, love has turned everything into a dizzily colored poem that peaks when Guy is to be sent away to fight in the war in Algeria. Fate takes a big hand in the consequences creating unforseen results. The supporting cast are as good as the principals, with Anne Vernon (Madame Emery) the veteran of many films and Marc Michel (Roland Cassard) coming in having played the same character in Lola, a signature quirk of the director. The music produced two early sixties hits, I Will Wait For You and Watch What Happens. Mr. Legrand's familiarity with the worlds of pop and jazz kept everything fresh-sounding and up to date. You also note subtle touches like the opening jazzy music set in 1957 is very brassy and big band sounding while in the 1963 final scene it's the cool jazz of that time. The colors are so captivatingly brilliant that when establishing shots of the actual Cherbourg are shown it seems like another world.
If you like romances, this is one of the classics. If you are open to musicals you will have no trouble with the fact that the entire film is sung. This is a most memorable and worthy film.
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Reviewed in the United States on January 31, 2016
★★★★★ 5
My favorite movie musical
The Umbrellas of Cherbourg (1964, Jacques Demy, Director) is a very straightforward love story that’s fairly predictable, but that doesn’t take away from its absorbing allure. In fact, I love this film so much that I’m willing to overlook some of the minor flaws in the blu ray transfer from Criterion. This transfer is somewhat grainy/hazy in picture quality, and the sound isn’t exactly clear; in fact, it can be slightly muffled at times. However, I’m not going to dwell on these few minor imperfections. Now, for the heart of the review: The Umbrellas of Cherbourg is so unique in that all of the dialogue is sung. This is definitely an acquired taste, but about 15-20 minutes in, I was used to it and all-in. The next thing that becomes obvious is its rich color; it’s sort of pastel-like, with some backgrounds that are quite striking. Finally, the last thing that jumps out is the continuous upbeat music in the film, with the exception of the main theme, which is an emotionally-charged melancholy number by Michel Legrand that is the heartbeat of the film. This film is really a heartfelt love story where fate is the prevailing narrative and force. It’s a film about important decisions and their outcomes. Along the way, there are familial issues, death, rebuilding with emotional crutches, and some humor injected at just the right times. Some of the dialogue is cliched, but I guess that’s par for the course in a love story? Finally, while watching this film, I could definitely see where the 2016 film, La La Land took so much inspiration from, especially the ending sequence and the upbeat musical numbers. Overall, The Umbrellas of Cherbourg is a masterpiece of a film that’s essential to your blu ray collection. The Criterion Collection usually does a stellar job with resorting older films, but for some reason this isn’t their best work. I was expecting better quality. The blu ray also contains some nice special features.
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Reviewed in the United States on July 22, 2025
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