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Clear out junk files and repair common Windows errorsFree Scan →Scan for outdated or missing drivers - takes under a minuteDriver Scan →Repair Windows errors before they cause bigger problemsFix Now →A VJ creates and performs live visuals, often alongside music or other performance—not television news. If you want to start, choose the kind of work that interests you, learn to listen as closely as you look, and begin experimenting with simple materials rather than waiting for a perfect setup. Those are the central lessons visual artist and programmer David Lublin shared in a 2014 beginner session.
What does a VJ do?
A VJ works with moving images as part of a live performance or audiovisual artwork. The role can mean shaping visuals around music, building a narrative through live cinema, or combining projected imagery with physical elements in a designed space. The common thread is making and presenting images in time, often in response to sound or a room full of people.
In a 2014 GeekWire account of a beginner session at Seattle’s Decibel Festival dB Conference, Lublin advised newcomers to pick a direction before trying to master every form at once. The article is a record of his advice at that time, not a current survey of software, hardware, or the VJ scene. Read Monica Nickelsburg’s 2014 interview and account on GeekWire.
Choose the kind of visuals you want to make
Live cinema for narrative work
If you are drawn to storytelling, live cinema offers a starting point: develop a visual sequence or narrative and shape how it unfolds in performance. A story can give your images direction even when the work is presented live.
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Set design for physical and digital media
If you are interested in the whole environment, think about set design. Lublin’s advice points to combining physical and digital media, rather than treating the screen as the only part of the work. The space, objects, and images can all contribute to the visual experience.
Music-synchronized visuals
If you want to work with musicians or DJs, consider how images can respond to a musical performance. Lublin said, “Having a musical background really gives you a leg up,” and explained, “You can anticipate when you’re working with live musicians if you have a little bit of a musical background.” Musical training is an advantage, not a prerequisite: listening carefully and learning to notice changes in the music can help you make more responsive visuals.
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Start with what you have and experiment
Lublin’s practical advice was to start small rather than making elaborate pre-production the barrier to beginning. Try free sample clips, combine them, and see what you can make. The point is not that a particular look is required; it is that hands-on experiments teach you how images behave in a performance context.
He put the value of trying things plainly: “Ultimately that’s what making art is about.” He added, “You could sit here and let me lecture you about good practices and techniques but really you should just jump in. Start with something that’s psychedelic or just pure pixel puke and learn from there.” Treat that as an invitation to explore, not a rule that every performance should look a certain way.
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Explore tools without making gear the starting point
VJ workflows can range from accessible apps to specialized hardware or software made by artists themselves. Lublin’s reported example of repurposing a security camera for low-light shooting illustrates resourcefulness; it is not a recommendation for a specific camera, nor evidence that any model will work for a particular venue or performance.
For a first experiment, begin with the visual task you want to solve and use tools already available to you. You can add equipment or learn programming as your goals require. Lublin was identified in the GeekWire article as the designer of VDMX, but that historical detail should not be taken as a current product comparison or endorsement.
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- Create, Jam, Produce - Trigger clips, loops and samples using a 5X8 clip-launch matrix with RGB feedback for clip status and color coding
- Essential Control - Take command of DAW parameters, virtual instruments, and effects with 9 channel faders, 8 control knobs, and 8 device controls that seamlessly map with Ableton Live
- Intelligently Designed Assignable Crossfader - Conveniently located assignable A/B crossfader for dynamic DJ-style mixing on the fly
- Unparalleled Control for Lighting Design - Use the robust faders and buttons to dynamically adjust lighting cues and effects, transforming any performance space into a captivating visual experience
How to pick a first project
- Choose a creative goal: a short narrative sequence, a designed visual environment, or images that respond to music.
- Decide how live it should be: prepare a sequence in advance, manipulate material during performance, or combine the two.
- Set a practical boundary: use the tools you have before taking on new hardware or programming.
- Make a small test: try a few clips or visual ideas, pay attention to how they work together, and adjust based on what you learn.
Nickelsburg’s article named Archive.org, Videopong.net, and VJloops.com as sample-clip examples in 2014. Their current access, licensing, and suitability are not established here. Check the terms that apply to any material before using it in a public performance or distributing a recording.
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