本講者專注於運用傳統與新興技術創作具情感共鳴的視覺體驗，其動畫作品曾於安錫影展、Animaze及SIGGRAPH Asia等國際影展放映，並為芝麻街、MTV、尼克兒童頻道等知名機構製作動畫。

她同時是紐約藝術基金會獎學金、亞裔美國藝術聯盟城市藝術家（UAI）計畫獎學金及美國動畫協會(ASIFA-Hollywood) AEF獎項得主，同時也是動畫集體Family Camp的聯合創始人，擁有豐富的創作與教學經驗。

An artist and filmmaker, mari jaye blanchard employs technologies from the distant past and the still-in-development-present to create visual experiences inviting shifts of perspective andempathetic engagement.

Through this exploration of high and low-tech processes, she has created animated works that have screened in festivals worldwide including Annecy, Animaze and SIGGRAPH Asia.

這場演講將深入探討如何將傳統2D動畫技術轉化為360度影片創作，分享《海綿寶寶》首部360度手繪動畫的製作流程與實際應用。

重點在於如何透過等距方格佈局，讓2D動畫師在熟悉的工作環境中，運用僅需一個背景、動畫圖層與簡單的VR輸出技術，輕鬆完成高品質的360度動畫。

這種低門檻的創作方式，為動畫專業人士提供了一個重新審視360度媒體製作的全新視角，並啟發更多可能性，適合任何想在技術與藝術間尋求平衡的專業工作者參與。

After directing and animating on the first Spongebob Squarepants 360 hand-animated film for Nickelodeon, I established a workflow for traditional 2D animators working in 360-film. Because traditional animators can work directly on an equirectangular layout, they can readily create an entire 360 film with nothing morethan a single background, animated layers, and a VR export.

This low-tech approach to a high-tech experience creates an access-point for those artists and 2D animators who would be offput by significant departures from a traditional animation production.

出生於中國長沙的陳依佳，14歲時移居紐約，這次遷徙重塑了她的人生。 紐約市充滿活力的文化豐富了她的視野，拓展了她的創作天地。

自幼對遊戲充滿熱情，這股熱情引領她進入壬色列理工學院攻讀本科學位，隨後在紐約大學完成研究生學位。在那裡，她的畢業製作《Moncage》誕生。

Born in Changsha, China, Yijia Chen found her life reshaped at 14 when she moved to New York City.The city's dynamic and vibrant culture began to enrich her perspectives and expand her creative horizon.

Fascinated by games from a young age, her passion steered her to Rensselaer Polytechnic Institute for her undergraduate degree.

心流的概念出自Mihaly Csikszentmihaly的著作 Flow： The Psychology of Optimal Experience，書中將「心流」描述為全身心，未經打斷地關注於一件任務上。 這個概念經常被應用在遊戲設計理念裡。

完全理想的狀態下，心流自然是越流暢越好，但是在現實設計中，幾乎不可避免的會出現一段相對疲軟與緩和的區間，我把這段時間稱為Idle Time。

The concept of "Flow" originates from Mihaly Csikszentmihalyi's book Flow: The Psychology of Optimal Experience, in which "flow" is described as a state of being fully immersed and uninterruptedly focused on a task. This concept is often applied in game design principles.

Ideally, flow should be as seamless as possible. However, in practical design, it is almost inevitable to encounter a relatively sluggish or relaxed phase, which I refer to as "Idle Time."