JC Gallegos builds companies at the intersection of AI, creativity and culture. He is the founder and CEO of PUNX, an AI-native creative agency and production studio based in Makati, working with global FMCG, fintech, telecom and entertainment brands - among them Procter & Gamble, San Miguel, Petron and JTI - across APAC, North America, Europe, and the Middle East & Africa.
He built PUNX around a specific argument about where creative work breaks: "We've never seen a lack of creative ambition. What we're seeing is a system that can't keep up with how marketing actually works now. The tools will keep changing, but the system you build around them is what determines scale."
He writes on AI video production, creative strategy, and how brands build production systems that hold up at scale.
Content Most AI content starts with material about real people: staff photos for a brand film, a founder’s voice for a voiceover, customer clips for a testimonial cut, a spokesperson’s face for a digital double. In December 2024 the National Privacy Commission set out how the Data Privacy Act applies once AI is involved. Here… Continue reading Personal Data in AI Content: What the NPC’s AI Advisory Asks of Brands
Production The pre-production meeting is the last point where a change is cheap. After it, a new idea costs a reshoot, a re-render or a fresh screening application. An AI production has more to settle in that room than a traditional shoot: which shots will be generated and from what, whose likeness appears, and how… Continue reading Pre-Production Meeting Checklist: What to Sign Off Before an AI Shoot
Commercials AI makes it easy to show a product doing more than it does: the cleaner floor, the fuller bowl, the glow that appears in three seconds. Most of those shots are allowed in a Philippine ad. They come with conditions, and the ASC Manual spells them out: what a demonstration has to prove, how… Continue reading Before-and-After, Serving Suggestions and Product Demos: What an AI Commercial May Show
Production Some lines in a Philippine ad are not written by the creative team. A food supplement ad carries a set message in Filipino, a medicine ad shows its generic name in a box, a property ad shows its License to Sell. Each comes with rules on size, position and timing, and together they decide… Continue reading Mandatory Statements in Philippine Ads: What Must Be on Screen, and for How Long
Screening An ad that goes through the Ad Standards Council is screened twice: once as a storyboard before anything is shot, and once as a finished film before it airs. Plan for both and screening is a few days in the calendar. Miss either and it can mean a reshoot. Here is how the two… Continue reading ASC Clearance for Video Ads: How Screening Fits the Production Schedule
Claims “Number one.” “The only.” “Better than the leading brand.” These are the lines that sell, and the lines most likely to stop an ad at screening. In the Philippines the Consumer Act sets the legal floor and the Ad Standards Council sets the proof. Here is what each type of claim needs before it… Continue reading Can Your Ad Say No. 1? The ASC Rules on Big Claims
Production Most production disputes are not about the film. They are about a clause nobody wrote: who owns the footage, what counts as a revision, who pays when a typhoon wipes out the shoot day. Philippine law has a default answer to each of these, and few of them are the answer a brand expects.… Continue reading Hiring a Production House? The Contract Clauses to Settle First
Animation “Make it look like that studio’s films.” AI has made it one of the most common briefs in animated advertising, and one of the easiest to get wrong. Philippine law does not protect a style as such. It does protect the works, characters and marks a style is usually borrowed from, and the Ad… Continue reading Animation in the Style Of: Where an AI Ad Crosses Into Copying
Events A raffle prize looks simple on the standee: win a phone, win ₱50,000. Behind it sits a tax question that the promo mechanics have to answer before the DTI approves them, and that the winner will ask on claim day: who pays the tax on the prize? How is a raffle prize taxed in… Continue reading Raffle Prize Tax in the Philippines: Who Pays the 20%
Music Most brands assume a FILSCAP licence clears a song for their ad. It does not. Putting a track into a video and playing that video to an audience are two different rights, and a jingle built on someone else’s melody is a third. Here is which licence covers what, and who you actually ask.… Continue reading Music Licensing for Philippine Ads: What a FILSCAP Licence Does Not Cover