Question about VBox/HBox and drawing things between things like a Mind Map

Hi people!
I'm toying with some techniques to draw something like a mind map using JavaFX. The idea was to make one HBox with two elements, left is the content node and the right element is a VBox with the child nodes.
The problem is drawing lines between the left node and the child nodes.
I suspect the double binding might be a problem in the lines definition, or perhaps that VBox/HBox don't actually change the x,y for the children, but rather translate them.
Here's a working buggy example:
package tree;
import javafx.scene.CustomNode;
import javafx.scene.Group;
import javafx.scene.input.MouseEvent;
import javafx.scene.layout.HBox;
import javafx.scene.layout.VBox;
import javafx.scene.Node;
import javafx.scene.paint.Color;
import javafx.scene.Scene;
import javafx.scene.shape.Line;
import javafx.scene.shape.Rectangle;
import javafx.stage.Stage;
public class MyNode extends CustomNode {
    var children : MyNode[] = [];
    def rect = Rectangle {
        width: 20
        height: 20
        fill: Color.RED
        onMouseClicked: function( e: MouseEvent ) {
            insert MyNode { } into children;
    public def leftConnectorX = bind rect.x;
    public def leftConnectorY = bind rect.y + rect.height / 2;
    public def rightConnectorX = bind rect.x + rect.width;
    public def rightConnectorY = bind rect.y + rect.height / 2;
    // A vertical layout box of the child nodes
    def childs = VBox {
        spacing: 5
        content: bind children };
    // These are the lines between this node and its direct children
    def lines = bind for(child in children) Line {
        startX: bind rightConnectorX
        startY: bind rightConnectorY
        endX: bind child.leftConnectorX
        endY: bind child.leftConnectorY
    override function create():Node {
        return Group {
            content: bind [
                lines,
                HBox {
                    spacing: 15
                    content: [ rect, childs ]
function run(args : String[]) {
    return Stage {
        title: "Tree of trees"
        width: 800
        height: 600
        scene: Scene {
            content: MyNode {
}Any ideas why the lines aren't drawn? Or any idea of a better way to achieve mind mapping-ish tree?

I'm sure there will be some updates soon to fix those small problems. I mean, how hard can it be? ;-)
I got my code working, had to move the lines to outside the nested HBox/VBox'es to be able to positioning them freely.
package tree2;
import javafx.scene.CustomNode;
import javafx.scene.Group;
import javafx.scene.input.MouseEvent;
import javafx.scene.layout.HBox;
import javafx.scene.layout.VBox;
import javafx.scene.Node;
import javafx.scene.paint.Color;
import javafx.scene.Scene;
import javafx.scene.shape.Line;
import javafx.scene.shape.Rectangle;
import javafx.stage.Stage;
public class MyNode extends CustomNode {
    var children : MyNode[] = [];
    def rect = Rectangle {
        width: 20
        height: 20
        fill: Color.RED
        onMouseClicked: function( e: MouseEvent ) {
            insert MyNode { } into children;
    public def leftConnectorX = bind rect.boundsInScene.minX;
    public def leftConnectorY = bind rect.boundsInScene.minY + rect.height / 2;
    public def rightConnectorX = bind rect.boundsInScene.minX + rect.width;
    public def rightConnectorY = bind rect.boundsInScene.minY + rect.height / 2;
    // A vertical layout box of the child nodes
    def childs = VBox {
        spacing: 5
        content: bind children };
    // These are the lines between this node and its direct children
    public def lines : Line[] = bind
    for(child in children) [
        child.lines,
        Line {
            startX: bind rightConnectorX
            startY: bind rightConnectorY
            endX: bind child.leftConnectorX
            endY: bind child.leftConnectorY
    override function create():Node {
        return Group {
            content: bind
                HBox {
                    spacing: 15
                    content: [ rect, childs ]
function run(args : String[]) {
def node = MyNode {};
return Stage {
    title: "Tree of trees"
    width: 800
    height: 600
    scene: Scene {
        content: Group {
            content: bind [ node, node.lines ]
}

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         at java.lang.ClassLoader.loadClassInternal(ClassLoader.java:319)
         at java.lang.Class.forName0(Native Method)
         at java.lang.Class.forName(Class.java:169)
         at nl.test.TestBean.getHelloWorld(TestBean.java:15)
    Secondly I added weblogic.xml with your suggested code, in the exploded war this results in a weblogic.xml which looks like:
    <?xml version = '1.0' encoding = 'windows-1252'?>
    <weblogic-web-app xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.bea.com/ns/weblogic/weblogic-web-app.xsd" xmlns="http://www.bea.com/ns/weblogic/weblogic-web-app">
    <container-descriptor>
    <prefer-web-inf-classes>true</prefer-web-inf-classes>
    </container-descriptor>
    <jsp-descriptor>
    <debug>true</debug>
    <working-dir>/C:/JDeveloper/mywork/test2/view/classes/.jsps</working-dir>
    <keepgenerated>true</keepgenerated>
    </jsp-descriptor>
    <library-ref>
    <library-name>jstl</library-name>
    <specification-version>1.2</specification-version>
    </library-ref>
    <library-ref>
    <library-name>jsf</library-name>
    <specification-version>1.2</specification-version>
    </library-ref>
    </weblogic-web-app>
    The only thing from me is that container-descriptor tag, the rest is added to it during the deployment. Unfortunately, it still produces the same error. :/ Any clue?

  • Question about "Native ISO" and Color Grading in PP

    I have a question about "Native ISO" in the real world and how it relates to color grading.  I was shooting 35mm film before all these digital cameras became flat-out amazing practically overnight.  Then the goal was always to shoot with the lowest ISO possible to achieve the least amount of grain (unless you were making an artistic decision to get that look).  If I was shooting outside plus had a nice lighting package I'd shoot 5201/50 ASA (Daylight) and 5212/100 ASA (Tungsten) 99 times out of 100.
    I've recently been shooting a lot with the Blackmagic 4K and have read that its "Native ISO" is 400.  Because of my film background this seems counter-intuitive.  Yesterday I was shooting for a client and had the camera at an f16 with a 200 ISO.  Because of what I'd read, I was tempted stop down to an f22 and change my ISO to 400... but the "little film voice in my head" just wouldn't let me do it.  It kept telling me "Higher ISO means more noise... stay at 200 and you will get a cleaner image".
    So how does it work with "Native ISO"?  Should I really shoot at a 400 ISO every chance I get in order to capture the best image for how the camera is calibrated?  Will it really give me more latitude when color grading?  Or would I still get a cleaner image staying at ISO 200?   I've Googled around quite, but haven't found any articles that answer specifically this question.  Would love to hear from someone who knows a bit more on the subject or has a link that could point me in the right direction.
    Thanks much.

    Hey, shooter ... yea, interesting discussion and always nice to learn. Great pic, too!
    jamesp2 ...
    Great answer. I've followed quite a bit of the discussion about the BM cams as well, one does feel a need to check out the possibilities for that next beastie one will need to acquire. But ... which one?
    I've always been a bit of a hard-case about testing testing testing. For instance, what happens with dome down or use of a flat diffuser vs. dome in the up position in metering? Back in the film days, we had our own lab and did our own printing as well as the um ... difficult images ... from other studios. I needed to know how to get exactly the same diffuse highlight no matter whether it was a "standard" light 3:1 studio shot, or a near-profile with no fill that needs dark shadows. I tested & burned through boxes of medium-format polaroid & 120 film and a lot of color paper. Finding? To get the same print time no matter the contrast or lighting style, needed to be metered either with the flat disc (Minolta) or dome-down (Sekonic) and held at the highlight-location pointed at the main light source. I could meter and nail the exposure every time. Ahh no, insist so many ... one must have the dome on/up and pointed at the camera! Right. Do that, change the contrast, and see what happens to your diffuse forehead highlight on a densitometer ... and see how your printing exposure times change. Oh, and you've just moved your center-of-exposure up or down on the film's H&D curve, which will also change the way the shadows & highlights print. In truth, though it was subtle, we had realistically no matter latitude for a best-case image with pro neg film as one had with chromes. You could probably get away with being "off" easier, but it still wasn't dead-on.
    So wading into video ... oi vey, you may have noticed the things claimed here there & everywhere ... this setting is God's Gift to Humanity but no, it's total crap ... this sensor is totally flawed but someone else is certain it's the finest piece out there. Yes, opinions will be all over ... but ... in film, it was the densitometer. In video, it's the scopes. Truth. And getting to that can be a right pain. I've seen quite a few contradictory comments about using the BM cams in film mode and also at ISO 200. Yours above gives the most ... comforting? ... explanation (for me) because of your reference to your scopes & the waveform patterns. Thank you.
    Love to learn ...
    Neil

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