ɪɾ ˈɪz, haʊˈɛvɚ, mˈoʊst lˈaɪkli ðæt nˈiːðɚ ðə dʒˈɜːmən ˈænɪmˌeɪɾɚ lˈɑːt ɹˌiːɪnˈaɪdʒɚ nˈɔːɹ ðɪ ɐmˈɛɹɪkən pˌʌpɪtˈɪɹ tˈoʊni sˈɑːɹɡ nˈuː ʌv hɪz wˈɜːk, ænd ɪt wʌz ɹˌiːɪnˈaɪdʒɚ hˌuː fˈɜːst ɪstˈæblɪʃt mˈɛnɪəv wʌt ɑːɹ nˈaʊ ðə stˈændɚd pɹˈæktɪsᵻz ʌvðə fˈɔːɹmənt wɪð hɜː fˈɜːst fˈɪlm, dˈæs ˈɔːɹnəmənt dˈɛs vˈɜːlɪbʔˌn̩ hˈɜːzənz ðɪ ˈɔːɹnəmənt ʌvðɪ ɪnˈæmɚd hˈɑːɹt, nˈaɪntiːnhˈʌndɹɪd nˈaɪntiːn.
It is, however, most likely that neither the German animator Lotte Reiniger nor the American puppeteer Tony Sarg knew of his work, and it was Reiniger who first established many of what are now the standard practices of the formant with her first film, Das Ornament des verliebten Herzens (The Ornament of the Enamoured Heart, 1919).