One part of my brain builds broadcast systems, technical visualizations, and data stories that actually land. The other grew up in Pee-Wee's Playhouse and hasn't left. The practical side makes things clear. The unhinged side makes them memorable. Turns out you need both.
Serious Work.
Silly Brain.
Remarkable Output.
Erin Bussear (He/They)
01 — MOGRTs & Broadcast Systems
Production companies are cranking out more content than ever, and consistency is what keeps it from falling apart. I build MOGRTs that let editors move fast without going off-brand — customizable, foolproof, and built to hold up across a high-volume workflow. You get the look locked in once. Then everyone can use it forever.
02 — 3D Product & Technical Visualization
Startups with groundbreaking hardware have a problem: CAD files and a deck template don't close funding rounds. I turn complex engineering data into cinematic motion that makes investors feel the future they're being asked to believe in. Native CAD ingestion, geometric fidelity, real Blender lighting — no shortcuts. This is the gap between a meeting and a yes.
03 — Data & Infographics
I'm genuinely delighted by making a dense dataset into something a human actually wants to look at. Map animations, animated charts, collage-style explainers — I'll try the weird approach first, because weird is often just right.
04 — Explainer & Brand Video
I grew up in Pee-Wee's Playhouse. I also genuinely want to help people understand things that matter. These are not in conflict — some of my best explainer work came from the surrealist corner of my brain going "what if we just..." and then it actually worked.
05 — Kinetic Type
Words that move like they mean it. I treat typography as performance — the letter has to land at the right moment, at the right weight, with the right attitude. Title sequences, openers, social, broadcast.
06 — Sports Graphics
I got into motion design because of sports broadcasts. The lower third that pops. The stinger that hits on the beat. The hype package that makes the hair stand up. This is where my heart is — and it shows.
I didn't go to art school. I took my art to psychology school.
I came to design through psychology, not art school — and honestly, I wish I'd had the chance to do both. What the psychology degree gave me was a clinical framework for understanding why certain visuals land and others disappear. Cognitive load, behavioral response, pacing, the first 300 milliseconds before a viewer consciously registers what they're looking at. I apply that lens to everything I make. And I do it because it's really, really fun.
The practical side of my brain builds broadcast systems, technical visualizations, and data stories engineered to land. The other side grew up in Pee-Wee's Playhouse, did a stint as a drag king, and is always convinced the weird approach is worth trying first. Spoiler: it usually is. Something I picked up in Wackysville turns out to be exactly the visual trick that makes a dry, vital process finally click for someone.
After years of pushing After Effects to its limits I fell hard into Blender — and it cracked something open. Real light. Real depth. Real space. I'm still learning and I have no plans to stop.
When I'm not animating I'm at a sketch comedy show, playing basketball, doing something musical, or deep in a Taskmaster rewatch. Several seasons are well past the three-watch mark and climbing.
Based in Chicago. Available for full-time, contract, and freelance work. Let's make something that works — and maybe surprises people.