What’s new

Your brand's rules travel with your work — into every size, without eonik moving things under you.

• The lines you must show — registration numbers, disclaimers, terms — are treated as legal text everywhere, so resizing never shrinks or re-flows them like ordinary copy.
• eonik recognises those lines even before you've said which project an ad is for, and it will tell you which project it believes it is, having read the ad itself.
• When your composition and your brand's rules disagree, you are asked once for the whole set of sizes, not once per size, and your answer is remembered.
• Your logo is placed the way your own finished work places it, at the size your brand actually draws it.
• Backgrounds and gradients follow your type when a layout changes shape, so words keep the ground they were designed to sit on.
• Flat artwork comes in as something you can genuinely edit, not a picture you can only crop.
• eonik no longer moves the screen while it works — the page you are on stays the page you are on, and undo puts things back where you expect.
• Playing back a cut while you edit is steadier; the time no longer jumps on every change.
• Your own ads are read on your Mac.
• Adding a file you already have gives you that file back instead of a second copy of it.
• When something goes wrong, eonik says what happened in plain words instead of a code.
• Copies you send for review look sharper, and every send is kept in your history.
• Your typefaces stay with the brand they belong to.
• What your plan includes is clear before you start, not after.
• A menu-bar item shows what eonik is working on and tells you when something is ready.

Your brand arrives whole — and nothing you set gets quietly undone.

• Setting up now finds your real logo, not just the small icon a browser shows in a tab.
• Your Instagram and Facebook are picked up from your own site, so eonik knows where to look without you typing them in.
• Products arrive with the page they live on, their price and their photo, so what eonik knows about what you sell matches your store.
• Voice and market are already answered when you arrive, and every option says what it means in plain words — you are confirming what we read, not filling in a form.
• The market eonik watches for you can be corrected whenever you like, instead of being decided once and stuck.
• Changing one thing about your brand no longer clears something you never touched.
• What eonik worked out for itself is marked as such, so you can tell its reading from your own answers at a glance.
• Reading your site succeeds more often — sites that used to come back blank now come back read.
• Creating a new account from the app completes as securely as signing in to one you already have.
• The link in your welcome email now opens a page that confirms your address.
• Forgot your password now sends a link that actually works.
• You can set a profile picture, and it stays.

Every shape gets its own layout — and nothing leaves without being looked at.

• A banner is now laid out for its shape instead of being shrunk into it — a wide strip reads across, a tall one reads down, and neither is the story squeezed sideways.
• Ask for a size by name and you get the size that platform actually asks for.
• Ask for a size the ad already has and you are told where it is, instead of quietly getting a second copy of the same thing.
• A size that has lost the ad's words is caught and held back before you can send it.
• What you export is what you ticked — the count on the button is the number of files you get.
• Copy that cannot fit a frame at a readable size is said out loud, with what was left out, rather than being made smaller until it disappears.
• Your logo is placed when a shape is composed, and a repair never moves a mark you positioned yourself.
• A video's text is now checked the way a page's always was — lines overlapping, running off the frame, or set too small to read.
• The review list is something you can act on: fix it, say it is not a problem, or hand the rest to your assistant in one press.
• Before you export or share, you are told what the file will not contain, while there is still time to do something about it.
• Generated footage arrives without words burned into it, so the text on your ad stays yours to change.
• Music, images and clips are there when you open Stock — and a search that fails says so, with a way to try again.
• Buttons show when they are working, so you can tell something has started and never press it twice.
• A connection that has stopped receiving data no longer reports itself as connected.

One picture, every size the plan asks for — and your brand's own rules checked before anything leaves.

• Ask for the sizes you need — a leaderboard, a half page, a story — and each one arrives as its own page you can look at, with nothing generated and nothing charged.
• Ask in your own words: name exact pixels, a ratio, or a placement, and that is the size you get.
• When an ad changes shape the subject stays in frame — the picture moves inside the new frame instead of being cut in half.
• What you export is what you made: every page goes out at its own size, and nothing is resized or re-cropped on the way out.
• Choose which pages to hand over, one tick each, in a list that shows what each one actually is.
• Point at the folder your agency sent and say onboard this — the spreadsheets, decks and documents are read, and you see what was found before any of it is kept.
• Lines pulled from that folder are checked back against the original wording, so nothing is stored that was never written.
• Where the pack contradicts itself you are shown which entries disagree, instead of one of them being chosen for you.
• Every page is looked over after each change — copy breaking mid-word, layers sitting on top of each other, a line running off the edge, a slot still empty.
• Copy that has been flattened into the picture is now spotted and said out loud, so words you can still edit don't quietly become words you can't.
• Before an export you are told what the file will not contain, while there is still time to do something about it.
• A readability rule you set is now measured against the finished page, rather than coming back as couldn't be checked.
• Set any page size you like and it stays — after a relaunch, across every page, and in the file you send.
• A Photoshop file with several artboards keeps each board at its own size instead of collapsing them into one.
• Where you dragged the picture inside its frame is remembered with the ad.

Come as you are — your shortcuts, your Photoshop and Illustrator files, and rules that keep every export on brand.

• Work in the shortcuts your hands already know — Premiere, Final Cut, Resolve, After Effects, CapCut or Photoshop.
• Bring the shortcuts file you exported from your old app and your own custom keys come with it.
• Open a Photoshop file and carry on — layers, groups, masks and artboards arrive, and the text is still text you can edit.
• Illustrator files, PDFs and EDLs open too, alongside the Final Cut and CapCut projects that already did.
• A file eonik can't open tells you the exact export to run in the app that made it, instead of just refusing.
• Every import ends with a plain account of what came through and what didn't.
• A missing font no longer blocks opening your file — swap it when you're ready.
• Set your brand's rules once, and every export is checked against them before it leaves.
• Generate from one box — the model, the options and the button sit where you're already typing.
• Sign in once when the app opens, instead of meeting a wall at every other step.
• Review findings and your own comments share one panel, each one specific enough to act on or hand to an agent.
• Install from the terminal in one line — and Intel Macs now get their own builds and automatic updates.

Match a reference in your own words, cast a character through their whole story, and build shots from footage you already have.

• Match a reference in your own words — describe what you want and the brief writes itself.
• Choose how close a copy you want: the same ad, the same structure, or just the idea.
• Your project opens straight away, and shots fill in while the reference is still being read.
• A character can have more than one look — cast the one your story is on.
• Fill a shot from footage you already have, down to the part that fits.
• A shot that should speak now asks you for its line.
• Widescreen references make widescreen storyboards.
• Everything you generate is kept with the project.

• The app now opens on every Mac — a packaging fault could make a fresh install quit before its first window.
• Validate leaves silent ads alone: no more dead air or uneven-mix findings on a cut that was never meant to have sound.
• Every frame-level check now runs on statics — three were being skipped while they waited on a runtime a page doesn't have.
• Low-contrast text is measured off the finished frame, and the finding names the ratio, the words, and when they're on screen.
• Text in the platform's edge zones can be fixed in place, instead of offering a move that statics refuse.
• Validate says whether captions or plain on-screen text answered the coverage check — a headline that sits there all ad is no longer mistaken for subtitles.
• "The product never appears" only fires when the product was actually looked for.
• Fix this for me shows up only when it can actually be done; otherwise the step stays yours.

• Chat works the same whichever agent you bring — Claude, Codex and Cursor all get the full brief, your brand and your slates.
• A failed step now says what it was doing and why it stopped, instead of just turning red.
• Chat tells apart what you told it, what was measured, and what was only guessed — and asks before treating a guess as fact.
• Validate opens on statics from the menu, the toolbar and the export sheet alike.
• Every Strategy item opens the ad it rests on, including patterns already established.

• Share a static for review — comments come back on the same thread as a cut.
• Validate now checks statics: legibility, safe zones, contrast and a missing call to action.
• Animated WebP and APNG now play, like GIFs already did.
• Timeline thumbnails stay sharp as you zoom in.
• Strategy shows the measured evidence behind every item — what changed, against what, and where you already stand.

Work across more than one brand, and make variations of an ad without starting over.

• Work on more than one brand. Switch client from the header, and everything follows — your projects, library, brand kit and chat.
• Each brand stays its own. What belongs to one client never appears while you're working on another.
• Make variants of an image ad — change who's in it, where it's set, or the language on the frame — and keep the ones that work.
• Add a blank page to an image ad, so a carousel can carry a second idea instead of another version of the first.
• Start an ad by picking a shape you can watch. Picking one writes the first draft for you to edit.
• Plan an ad inside a project the same way you start one — pick a shape, edit the draft, then build it.
• Keep several versions of an ad in one project, and move between them as you work.
• Hear a voice before you pick it.
• Image ads get proper canvas tools — edit text in place, reorder layers, and set the page size when you're ready.

Fewer blank starts, image ads on a canvas built for them, and a way to put a cut in front of your marketer.

• eonik now keeps itself up to date — you'll be asked to restart only when a new version is ready.
• Start from a shape that already works, instead of an empty timeline.
• Keep a cast of people you can reuse across your ads.
• Make image ads on a canvas built for them.
• Send a cut for review on the web — your marketer can comment without installing anything.

First public beta.

• The Mac-native editor: import your footage and AI clips, cut on a four-band timeline, and export finished ads.
• Your brand kit applies to every cut — fonts, palette, and logo travel with the project.
• Claude sits inside the editor, so you can direct edits, research your market, and build ads by chatting.