Quote:    The numbered terminology found in the Fan Restoration Forum is even more complex.

    First of all you have the Fan Restoration, which aims to bring a film as close as possible to originally version released in theaters (this applies to films by which a digital edition is on the market). The implicit reference of this practice is therefore that of restoration, which can include a large variety of operations: "color regrading, frames/scenes replacing, aspect ratio correction, removal of scratches, tears, spots and dust, sounds/dialogs replacing/correction, entire sounddtracks replacing etc."

    However, the restoration meant here is operated on a single source (or at most on a source for the image and one for the sound), as it's clear from the comparison with Fan Recreation, where multiple sources are used in order to obtain a philologically correct version. Similar to the Fan Recreation is the Fan reMux, that is the assembly of different sources to get the best possible version of a given movie, without no restoration.

    The terminological choice is symptomatic of a certain one scrupulousness: reMux alludes to multiplexing intended as an assembly of materials, while the fact that Recreation involves restoration implies that the latter is intended as a creative act, therefore more open to discussion.

    If a certain version of a movie cannot be found in a digital edition, the practice of making a file to be shared is called Fan Preservation. In this case the principle is to preserve a manifestation of a film that otherwise it would risk being lost. If who makes it he tweaks it, you have a Fan Enhanced Preservation, while if you do restore it you have a Fan Restored Preservation. Anyway, Fan Preservations too involve the use of a single source: it is therefore digitized or "migrated" from an analog source.

    The Workprints & Bootlegs category is instead related to low quality recordings of alternate or rare versions that they do not arise from official or professional copies, differentiating themselves so from Fan Preservation.

    The Fan Extended Edition features adding scenes (or replacing original scenes with them) which, if combined with a restoration, give rise to a Fan Restored Extended Edition. This extension is based on usage of deleted scenes, therefore the fan's will is still limited because we are still referring to an original (think of an alternative ending originally hypothesized).

    The other practices move away even more from the concepts of preservation and restoration because the will of the fans is more conspicuous. The Fan Edit provides a new film editing which can include any material, as long as the the result consists of a "coherent version", narratively sensible.
    The Filmumentary is defined as follows by the creator Jamie Benning "a format [...] where the viewer can watch a film whilst additional material appears on screen including: deleted scenes, alternate takes, on set audio, text facts and information, audio commentary from cast and crew etc.", with the aim of "make the ultimate making of experience for the viewer." Similarly the Fan Bonus Disc is a collection of materials similar to that of the bonus discs present in the home editions video on the market.

    While the terminology is varied, the post author himself has it questioned after four years, noting the need to extend or modify it. Specifically, the user proposes to insert a "comprehensive category" for all those transactions that involve changes to the starting materials, which however neither respond to need for restoration nor does it involve modifications to the assembly.  He proposes to call these operations mod film or fan mod (where mod stands for modified). For example, some color gradings are made not in reference to an original model - as in the restoration - but based on the taste of a fan.

    Even more curious is the practice of what is called Ultimate Aspect Ratio (UAR), which results from the merge of multiple sources with different aspect ratios - looking to get the largest portion of the image possible: a Blu-ray edition could be matted to 1.78: 1 and show a small amount of extra frame on both sides, while an edition more obsolete could have another matte (1.33: 1) and therefore show conspicuous areas of the extra frame at the top and in the lower one. Therefore, the purpose of the UAR is to merge each frame of an edition with the same frame from another one.