Don?t confuse the tape with the electronics and optics of a camera.

Here?s some specs for the XL2
20x Optical zoom
Canon's 20x Professional L-Series Fluorite lens for the XL2 is the equivalent, in 35mm format, of a 42.3 - 846mm lens when the camera is recording in 16:9 widescreen format. When the 20x Professional L-Series Fluorite lens for the XL2 is recording video in the TV-standard 4:3 aspect ratio, it is the equivalent, in 35mm format, of a 51.8 - 1036mm lens.

f/1.6 - f/3.5
Canon's 20x Professional L-Series Fluorite lens features a fast aperture of f/1.6, variable to f/3.5 at full telephoto. This maximum aperture of f/1.6 aids in capturing quality video in low light conditions.

Fluorite 'L' series lens
Canon has satisfied the demands of experienced image makers for years through the power, design and quality of 35mm and broadcast TV lenses. Canon's Professional L-Series lenses utilize fluorite, a material that provides outstanding resolution, contrast, and color reproduction - especially in lightweight, high-magnification lenses. Incorporated into the XL2's 20x lens, fluorite delivers the ultimate in clarity and image quality. The fluorite element inside the lens defeats color aberration (an effect that causes a reduction in sharpness, contrast and color). The fluorite lens precisely controls components of light providing an excellent balance of these three critical ingredients of picture quality. This is unobtainable with conventional optical glass.

CCD's Aspect Ratios and Shooting Modes
3 CCDs, 1/3 inch, gross 680K (each) progressive scan, horizontal pixel shift

16:9: 960x480 effective pixels (460,800 pixels per CCD, total 1,382,400)

4:3: 720x480 effective pixels (345,600 pixels per CCD, total 1,036,800)
Building on the superior image quality associated with its industry-leading XL1 and XL1S camcorders, Canon has made a major step forward with the XL2. The XL2 continues to feature a three CCD (charge-coupled device) system with a separate CCD for each primary color (red, green, blue). But the system now features even higher resolution, delivering outstanding picture quality, highly accurate color reproduction and a wide dynamic range with virtually no color noise. The three CCD image sensors are specifically designed to capture as much image detail as possible and for shooting under extremely low light conditions. In super low light, the XL2 captures crisp and clear digital data. Under extremely bright conditions, the XL2 greatly reduces vertical white streaks and smears, making it a consummate field recording device for all conditions.
With the XL2, a beam-splitting prism separates light passing through the lens into individual color components and each is sent to its own CCD. Compared to a single CCD, the three CCD system achieves outstanding detail with highly accurate color reproduction suitable for the demands of high-end video production: wide dynamic range, low color noise, high-contrast detail, natural color resolution and low-aliasing.

16:9 and 4:3 shooting formats
In the XL2, Canon offers both the standard 4:3 aspect ratio and the 16:9 widescreen TV aspect ratio (the ratio of the screen width to its height). The 4:3 aspect ratio is that of the common TV screen, and is the most frequently used aspect ratio in broadcasting today. The 16:9 aspect ratio is the more common aspect ratio for film-based movies, and produces full screen playback on widescreen TVs. This aspect ratio is menu selectable on the XL2.

60i, 30p and 24p (NTSC format)
The XL2 delivers 60i, 30p and 24p frame rates. 60i is the standard video frame rate used in television today, as viewed on your home TV, whether from a broadcast signal, rented DVD or home camcorder. 30p, or 30-frame progressive, is a non interlaced format, the same as Canon's Frame Movie Mode, producing video at 30 frames per second, delivering spectacular clarity and a cinematic-like appearance. 24p, also non-interlaced, produces video with the look and motion of film; its capture rate is the same as that of movie film for theatrical viewing.

Here?s some specs for my camera - the JVC GY-DV5000
To ensure the best possible image quality, the GY-DV5000U incorporates three 1/2" 410,000 (380,000 effective) pixel CCDs. Each CCD is equipped with highly advanced circuitry that virtually eliminates vertical smear when shooting bright lights against a dark background. Lag and image burn are also reduced to indiscernible levels. Camera resolution is an impressive 800 TV lines.

JVC has developed an advanced 12-bit processing system--previously found only in very high end broadcast cameras. The 12-bit ADC (analog to digital converter) directly inputs data to the DSP (digital signal processor,) thus eliminating any signal degradation that might otherwise arise from analog circuits. In addition, the advanced video processing brings out natural details--even in extremely bright scenes, greatly reduces noise, and provides color accuracy found only in the most expensive field production cameras.

The GY-DV5000 uses a standard professional 1/2-inch bayonet lens mount, making it compatible with the widest selection of broadcast and professional lenses. No adapters, no hidden costs. Just a smart way to tap the rich infrastructure of interchangeable professional lenses.

In addition to the Full Auto Shooting to handle difficult or variable lighting enviroments, the GY-DV5000 is equipped with an array of pro-level functions that provide professionals with the creative flexibility they need. These include soft detail correction, Skin Tone Detection, fully adjustble gamma, Iris over/ under Black Stretch/Compress, Frame Mode etc. The GY-DV5000's switches have also been arranged in the way that most professionals are accustomed to, making operation more intuitive, precise, easy, and error-free. Since you won't have to "re-learn" how to use this camcorder all over again, the GY-DV5000 is the ideal camera for any assignment.

Compare these features to a lower priced camera and you?ll see why the sape tape doesn?t mean the same quality with it comes to optics and electronics.

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Could someone in the know please give me the ins and outs, and if useing this thing for the big screen would be a good or bad idea.

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This is a pretty broad question. There have been a few movies shown on the big screen that were shot on MiniDV. You'll see wildly different quality between, say, "Chuck and Buck" and "28 Days Later."

Do you have a script that is ready for a big screen release?

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The aim of an argument or discussion should not be victory, but progress.
Joseph Joubert, essayist (1754-1824)

We are currently working on the script, and in the mean time looking at the technical aspect of all of this. And if the film is acctually good, we do not want to limit ourselfs to where the film can be shown.
Thanks for all the specs.