Everything here demonstrates itself.
The panels with a slider or a sheet under them are live: scrub them, drag them, click them, and each behaves the way the tool it stands for behaves. The rest are description, not demonstration.
Retime by dragging
Keys and holds for every layer, on one sheet, for the whole cut. Expose on ones, twos or threes; drag a hold to stretch it, carry a block to another row, open or close time a column at a time. The timing lives in the sheet, where you can see all of it at once. One click flips the sheet into an animatic: a thumbnail of every cut, a storyboard that never drifts because it is the film. Click a cell to put the playhead there; drag a key along its row to retime it.
Paper with peg holes
Under the drawing is real paper: three peg holes along the top, the field strip, the frame you'll actually export. The frame behind ghosts warm, the frame ahead ghosts cool, the one you're on stays ink. Up to three either way, from your layer alone or every visible layer in the cut. Then grab the peg bar and lift a neighbor off its pegs; slide it, turn it, the way an inbetweener lays a sheet where the arc says it belongs. Tap the pegs and everything drops home; nothing in the film moved. Scrub it and watch the spacing.
Steady the line, then build the brush
Push the stabilizer and the wobble comes out of the line: the long slow confident stroke, without the shake. The shelf starts full (ink pens, pencils, charcoal, watercolor, a smudge that pushes paint around), but the brush creator is the real tool: shape the tip, load your own tip and paper textures, and set how the line answers pressure, speed and tilt. Every brush carries its own stabilizer setting, and the whole thing packs into a .dbrush that unpacks whole on someone else's machine. Drag the slider and watch it happen.
The whole film stays in one window
A project holds scenes, a scene holds cuts, and every cut keeps its own timing, its own camera and its own length. The layer stack belongs to the film rather than the cut, so name a layer line once and it is line in every cut, in one order, so the stack never drifts between shots. Reorder cuts without renumbering anything by hand, and undo steps back through that structure as well as your strokes. And every drawing the film owns sits in the cel bin; click one and that same cel goes on the current frame, a reference rather than a copy, so a held background is one drawing however many cuts stand on it.
Change one swatch, recolor the film
Pick on the wheel, read it as RGB or HSV, keep it in a managed palette that stays with the project. On a cel layer every pixel remembers which swatch it is, so edit that swatch once and every mark that used it changes with it, across every cut at once, which is the thing a cel painter reaches for. A painterly layer opts out and stays free RGBA, for a watercolor background that was never a question of swatches. Export the whole model as a .dpal and the next film opens on the same colors. Drag the hue ring.
One project in, a finished film out
One .dga per project holds every scene, cut and layer. Out the other end: a PNG sequence, an animated GIF or APNG, or an H.264 MP4 with its mixed audio. All built in, nothing to install. The X‑sheet itself prints to PDF, or leaves as XDTS for a studio that wants the timing. Things come in, too: images, numbered sequences, GIFs, footage to rotoscope, Krita's .kra with its layers and its animation, wav and mp3, pose packs, XDTS. Export the whole film or a marked range, at full size or scaled down, with a title card at either end, and keep drawing while it renders.
● Animated GIF
○ Animated PNG
○ MP4 video (H.264)
Ink over paint, roughs under everything
Every layer carries its own opacity and one of six blend modes: multiply for shadow, screen and add for light, overlay and color for the grade. Alpha lock paints only where paint already is, and a layer clipped to the one below can never spill past it. Layers gather into folders that fold away, and a folder's lock, visibility or draft flag covers everything inside it at once. Mark a layer Draft and it stays on the canvas and in the onion skin but never reaches an export; scans, roughs and model sheets ride the whole film without ever shipping.
Move one layer without moving the camera
Every layer has a peg bar of its own inside a cut. Move it, turn it or scale it on keys of its own — drag the gizmo on the canvas and a key lands at the playhead, or type the five numbers — and the frames between ease from one key to the next, holding either end. A layer nobody has moved carries no keys at all. What this buys you is the shot a camera cannot spell: a far background sliding slower than the one in front of it while the character walks on the spot, which is a multiplane shoot, because the camera is one move for the whole picture and this is a different move per layer. Rotation is typed in degrees and never wraps, so a key of 540 turns one and a half times rather than a half.
The track lies under the sheet
Bring in a wav or an mp3, more than one if you want, and each clip takes its own row under the sheet with its waveform drawn along it. Drag a clip down its row to re-cue it in whole frames, undoably; mute one against another, weigh their volumes, and the mix you hear is the mix the MP4 carries out. Turn on Scrub Audio and dragging the playhead answers in sound, so a mouth lands on its syllable because you heard the syllable under your hand.
Drawn once, kept anyway
Douga assumes the worst on your behalf. A background snapshot of the open project is kept while you draw, and if the program dies (power, crash, a knocked cable) the next launch offers the recovered work back before anything else. A save that fails arrives as a choice, retry or save elsewhere, never as a loss; saves and renders run beside the drawing rather than instead of it, so a long export is something you draw through. And a .dga is an ordinary zip inside, so even a damaged one opens as a folder, so the drawings are never further away than that.
The other hand never needs the keyboard's help
Hold R and roll: the drawings riffle under your hand like a stack of paper, at your tempo, and snap home when you let go. Two fingers tap to undo, three to redo; a pinch zooms, a twist turns the paper and snaps level when you're near it. Flick the pen along a list and it scrolls, with no scrollbar hunting mid-stroke. Sticky Shift and Ctrl latch for a hand that's holding the tablet, and a padlock on the transport bar makes it ignore a resting palm while every key keeps working.