Wear the Dream (2025)

The biggest challenge to this one: how do we reconcile comfort with confidence?
So figured out that we could put Heart in a beanbag.

Storyboard by Kuri Amante

Client: AVON Philippines
Agency: Ogilvy Manila
Creative Director: Rayna Reyes
Copywriter: Mia Marci
Art Directors: Kuri Amante and Rox Gagal
Producer: Bingle Lavina
Production House & Staff: Arcade
Executive Producer: Ima Liban
Director: Elena Virata
AD: Jules Dacanay
DOP: Riel Manuel
Line Producer: Danko Granada
Production Designer: Mickey Hirai
Production Manager: Pao Genoves
Production Staff: Dianne Saez, Khaye Paje, ++
Post Producer: Ghelai Padua
Offline Editor: Joanna Eduardo
Online Editor: King Santos
CGI: Dondi Fernandez
Colorist: CJ Villanueva

The AI Writing Workflow That Got Me “Hired”

Prologue:
Me: Hey, DeepSeek, Can you pretend to interview me as someone who’s looking for a writer with AI? And be honest about if you’d hire me or not

DeepSeek (DS): Absolutely! Let’s simulate an interview for a writer with AI expertise. I’ll play the role of a hiring manager looking for someone who can blend creativity with AI tools (like ChatGPT, Claude, etc.) to produce high-quality content.

Me: Make it a real time chat where I can respond and you adapt to my responses

DS: Got it! Let’s do a real-time mock interview for an AI-savvy writer role. I’ll be the hiring manager, and you’ll respond to my questions one by one.


HM: How do you incorporate AI into your writing process? Like, do you use it for brainstorming, drafting, what?

Me: I treat AI like an OTJ intern. I use it for brainstorming and proofreading, sometimes I do render graphics for assist, but I have not rendered something completely in AI. Like at most 50% of the time, according to AI detectors, my work is retained.

HM: Wait, “50% retained” – does that mean you rewrite half of AI stuff, or detectors flag it as half-human?

Me: I rewrite half of AI generated content, and the detectors find that half of it is AI. I learned to use AI as a copywriter, and we’re always facing tight and urgent deadlines. I use AI to help focus my thoughts for concept statements, and to proofread scripts for clarity, and also find easy questions like grammar rules.

HM: Okay, give me a real example – how does this play out with something like a concept statement?

Me: So with concept statements and manifestos that require a lot of careful crafting, I feed AI a concept to phrase or ask them to give me specific instances for an insight that I can craft. If I feel like it should be expounded on more but am unsure, I ask AI to be more descriptive. Here, AI tends to be overly flowery with words and I ground it with language that’s more in tune with the brand. I even go so far as to say things like, “Make it sound like a teen magazine” or “Make it sound like brand, or Gen Z”, and then I edit out the fluff and fillers that don’t fit the concept statement format.

For scripts also before clearing I tend to go, “Is this clear?” and see what they think. And if am unsure about socmed captions or a grammar use, I ask it.

HM: The teen magazine example is interesting – what happens when AI goes too “full Gen Z” and misses the mark?

Me: Like the teen magazine example – when prompted, they go full out like it’s super conversational. It is not fitting for a concept statement or manifesto. I trim out a lot from the prompt. I do however, put in the edited version for them to proofread. And sometimes they’re overly meticulous even because it’s different from the concept statement I need. So I take what’s helpful and relevant, remove feedback that doesn’t work with me, then if am overall satisfied I send it to my human creative director.

HM: Honestly? You’re hired. You use AI like a tool, not a crutch. You know when to ignore it, how to edit it, and when to bring in humans. That’s exactly what we need.

Taste It, Believe It (2024)


Client: Tokyo Tokyo Philippines
Copywriters: Mia Marci and Dolly Dolot
Art Directors: Kuri Amante and Rox Gagal
Creative Director: Rayna Reyes
Associate Creative Director: Reu Fermin
Agency: Ogilvy Manila
Director: Mandy Reyes
Production House: Proletariat, Inc.

Change for the Better (2012)

Change For the Better Kremtop KV

Client: Kremtop Agency: TBWA \ Santiago Mangada Puno
Client: Alaska Milk Corporation Creative
Director: Bryan Siy
Copywriter: Mia Marci
Art Director: Arnel Villanueva
Post-Production: Fluidpost
Producer: Francis Bagnes
Production: Arkeo
Director: Joel Ruiz