An oft-told bit of studio lore credits a rooftop accident at Vitagraph with seeding the birth of American stop‑motion animation. According to Albert Smith, a crew shooting a complicated stop-action effects sequence around 1905 let steam from the studio generator drift through the background. On playback the crew noticed the little puffs seemed to scoot and behave on their own, an optical quirk they found visually compelling. That serendipitous discovery was then deliberately reproduced: the same trick was employed to suggest invisible ghosts and toys coming to life. Blackton’s subsequent shorts — most famously 1906’s Humorous Phases of Funny Faces and the 1907 The Haunted Hotel — mixed live-action sleight-of-hand with stop‑motion bits, and the steam anecdote has become the romantic origin story for American animation. The tale survives as a charming, semi-apocryphal account: it’s recorded in contemporaneous recollections but reads like studio mythmaking, and scholars treat it as plausible but not exhaustively documented.
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