Having done the same type of thing over the years for large data, audio and video projects the number that will impact your costs significantly is your working set size. Assuming you are going to copy everything to tape for backup and archive, how big a pool of content do you need online for a specific project? If you want to really control costs then I would put some bounds on that and break it up into a few logical projects to have the costs spread out. You may have done that to come up with the 300TB number, if that is the case then
you need to be prepared to spend $12-15k bare minimum for ~45x 8TB drives (current sweet spot $/TB) and ebay bits to build up a server before spending $ on the LTO side
Off the top of my head I would consider:
If you are the only IT/hardware guy in the group, and you want to do something other than be sysadmin for this setup all the time, spending $ on better solutions at the start saves your time maintaining the setup down the road. The cameras, lenses, media, lighting, sound etc all cost a decent amount, even if you are renting it. Don't skimp too much on the archive side if it is your final work product, it is worth protecting it and spending the $ to avoid needing to re-shoot something, or the loss of profits and reputation for things that can't be shot again.
you need to be prepared to spend $12-15k bare minimum for ~45x 8TB drives (current sweet spot $/TB) and ebay bits to build up a server before spending $ on the LTO side
Off the top of my head I would consider:
- Offload/ingest speed - how much video do you shoot per day on a multi-day project and compare that to your pool of media for the cameras. Are you moving video to intermediate drives in the field or bringing all the SSD's back to home base and offloading everything end of day? For a multi-day shoot you would need to be able to get back to the office and offload all the video to the server to free up for tomorrow in a sane amount of time (overnight if someone is willing to sit there or you can plug in a few dozen external drives to churn overnight), or a few hours if you are going to do it yourself and still have some time to sleep for the next day. The LTO transfer should be able to churn in the background while you are in the field, but you need have enough disk space to buffer the video pool waiting to be dumped to LTO
- Working set size while editing a project, including all the inputs + intermediate files and various encoding of the output files
- Archive indexes + low res samples for context + full tape catalogue for your backup software (Personally I would want to be able to see stills from key scenes or low-res video samples of items in the library in addition to a robust naming scheme so I can get the exact tape I need for something vs restoring all the tapes for a project and then slogging through that)
- Redundancy + tolerance of data loss. You will probably start small here and grow as budget allows, but bare minimum of being able dump all source content to multiple tapes to keep a set offsite, and have enough tape head time to verify everything you write I would think you want to start with
- What setup you need in the field? Do you want to do offload from SSD's to a pair of small servers stocked with 10TB drives in the field and have them taken back to the shop for the rest? A pair workstation sized boxes with 20TB of raid1 raw storage could stash 16-20h+ of content to keep the amount of flash you need to buy/rent under control. Add in some 40G networking so you can offload on both boxes at once and mirror to the other in real time, then you have a fast video server right there to review footage in the field
If you are the only IT/hardware guy in the group, and you want to do something other than be sysadmin for this setup all the time, spending $ on better solutions at the start saves your time maintaining the setup down the road. The cameras, lenses, media, lighting, sound etc all cost a decent amount, even if you are renting it. Don't skimp too much on the archive side if it is your final work product, it is worth protecting it and spending the $ to avoid needing to re-shoot something, or the loss of profits and reputation for things that can't be shot again.