Draw a frame. Tap forward. Draw the next one.
A pen-first canvas and a real dope sheet in one window. The drawing half and the timing half of the job, without leaving for another program halfway through.
One window: the canvas in the middle, the dope sheet across the bottom, and movable tool cards down either side of it for color, brushes, scenes and effects. Drag them where you want them, fold away the ones you are not using, and the layout is kept. Nothing here opens in a second program.
The one that feels best to draw in usually isn't the one that knows what a frame is.
So people bounce between two programs: rough it where the pen feels right, then re-time it somewhere that understands exposure. Douga is an attempt at one program that does both halves of the job.
Pressure that means what you expect, brushes you can add to, a stabilizer for the long line.
A real dope sheet: keys, holds, loops, exposure on ones or twos, onion skin either side.
Ten things that already work
Retime by dragging
Keys and holds for every layer on one sheet. Drag a hold to stretch it, move blocks between layers, insert or cut time, and expose on ones, twos or threes.
Paper with peg holes
Three peg holes, a field strip, the frame. Onion skin up to three drawings either side, warm and cool. Then drag the peg bar to lay a neighbor where the arc says it goes, and tap it to drop everything home.
Steady the line, then build the brush
Turn the stabilizer up and a long slow line comes out clean. The shelf starts full, but the brush creator is the real tool: shape the tip, load your own paper grain, set how the line answers pressure, speed and tilt, then pack it into a .dbrush and pass it on.
The whole film stays in one window
Scenes gather cuts; every cut keeps its own timing, camera and length. Flip the ribbon to thumbnails and the running order becomes a strip of the film's own frames.
Change one swatch, recolor the film
Ink and paint on a cel layer remember which swatch made them, so editing that swatch recolors every linked mark across the film. Keep colors in named groups and hand the model to the next film as a .dpal.
One project in, a finished film out
One .dga holds the film. In: images, sequences, GIF, video to rotoscope, Krita files, wav and mp3. Out: PNG sequence, GIF, APNG, H.264 MP4 with its audio, X‑sheet PDF or XDTS.
Ink over paint, roughs under everything
Six blend modes, per‑layer opacity, alpha lock and clipping, folders whose flags cover everything inside, and draft layers that stay on the canvas but never reach an export.
The track lies under the sheet
Several clips, each on its own row with its waveform drawn in. Drag to re‑cue in whole frames, mute and weigh the mix, scrub the sheet and hear it answer.
Drawn once, kept anyway
A background snapshot while you draw, offered back after a crash. A failed save is a choice, not a loss, and a long render is something you draw through.
The other hand never needs the keyboard's help
Hold R and roll the stack like paper. Two fingers tap to undo, three to redo, a twist turns the paper and snaps level, and a pen flick scrolls the list under it.
Free, 2.5 MB, no installer.
Windows 10 and 11. Unpack it and run it. No account, and nothing to uninstall afterwards.