A. COMPETITION DIVISION

Branded Communications

• The entry should highlight a specific campaign for a product or service.
  Example: ACME Light-A-Home Mother’s Day Treat

Advocacy Communications

• The entry should highlight a specific campaign for an organization/ company/ corporation. This includes Corporate Social Responsibility Campaigns, Products and Services.
  Example: ACME Road Lighting Neighborhood Watch

B. CATEGORIES AND ENTRIES

Entries, whether Branded Communications or Advocacy, must reflect the ARAW Cornerstone Values, and as such may be entered into the following categories:

1. Love of God and Respect for All Religious Beliefs

2. Commitment to Truth, Honesty and Integrity

3. Love of Country and Respect for National Customs and Traditions

4. Reverence for Family Unit or Marriage or Responsible Parenthood

5. Respect and Care for Life and Dignity and the Rights of All

6. Respect for Law and Authority and Promotion of Self-Discipline

7. Concern for and Preservation of the Environment

Expanded Definition of the ARAW Cornerstone Values

1. Love of God and Respect for All Religious Beliefs

   Communications under this category acknowledge spiritual need as a basic human need, and therefore, uphold people’s belief of faith in a God, a Higher Being, or a Spiritual/Supernatural Realm. Such communications further recognize and enjoin respect for the many forms of faith/religious/spiritual expression from local devotions, traditional rituals, and worship, to organized religion and institutional practices. Communications can also highlight the invaluable contribution of religious and spiritual practice to social cohesion and harmonious and compassionate living.

2. Commitment to Truth, Honesty and Justice

   Communications under this category value the use and transmission of accurate, factual and verifiable information and reasoned analysis, particularly by those in media (traditional, mainstream, and social media), engaged as they are in news reporting, forming and shaping opinions, and educating the public on world affairs and current developments. Guided by this, communications help ensure adherence to fairness, ethical conduct, and principles.

3. Love of Country and Respect for National Customs and Traditions

   Communications under this category promote pride of place in/for the Philippines and foster a sense of national (Filipino) identity. Communications that likewise promote knowledge and appreciation of Philippine history and geography; the overlays of cultural, religious, political, and economic influences that have shaped the country over time (Hispanized, Christianized, Sinicized, Americanized, and currently, Asianized); and celebrate the country’s living traditions and unique heritages, and artistic and creative expressions, products and industries.

4. Reverence for Family Unit, Marriage, or Responsible Parenthood

   Communications under this category acknowledge families as the building blocks of societies, and emphasize the importance of a) family bonds and relationships, which in the Philippines include a slew of extended kin and relatives from different generations and arising from various affinal (marriage) and consanguineal (blood ties); b) responsible parenting on the part of adults; and c) filial respect and affection on the part of children and the youth.

5. Respect and Care for Human Life and Dignity and Rights of All

   Communications under this category raise consciousness of the dignity of the individual amidst existing social distinctions arising from the multi-ethnic/linguistic character of Philippine society and its demographic differentiation into age, sex, and gender orientation groups, socio-economic classes, physical and mental-ability categories, etc. Communications that likewise support non-discriminatory policies and programs and efforts designed to safeguard basic individual rights to life, liberty, and happiness, and accord to one and all related political, economic, and socio-cultural rights and freedoms.

6. Respect for Law and Authority and the Promotion of Self-discipline

   Communications under this category help develop notions of civics and the common good and draw attention to how individuals contribute to the functioning of societies. Communications that further extol the values of social responsibility and good citizenship, i.e., respect for authority and the rule of law, paying taxes, abiding by the traffic rules, not littering and keeping one’s surroundings orderly and clean, volunteering in local community charities and development projects, etc.

7. Concern for and Preservation of the Environment

   Communications under this category advance knowledge and understanding of the interconnectedness of all living things and the physical world or Planet Earth and the imperatives of maintaining the fragile balance of this ecosystem. Communications in this category may thus touch on such themes and topics as the necessity of conserving nature and the biodiversity obtained in plant, animal and marine life, and the environmental threats posed by increasing industrialization and economic growth, and by consumerist behavior and lifestyles. Communications here can also inform and enjoin support for policies and programs meant to arrest further environmental degradation as reforestation, the cleaning of oceans and water bodies, waste reduction and recycling products, the shift to cleaner fuels and green energy, regulating extractive industries and technologies, and curbing wasteful consumption among households, communities, offices and the public.

C. TECHNICAL FIELDS AND CATEGORIES

1. Animation and Visual Effects

   Animation is a method where pictures are manipulated to appear as moving images. In traditional animation, images are drawn or painted by hand on transparent celluloid sheets to be photographed and exhibited on film. At present, most animations are made with computer-generated imagery (CGI). Computer Animation may be 2D computer animation used for stylistic reasons, or very detailed 3D animation; low bandwidth or faster real-time renderings. Other common animation methods include stop motion technique to two- or three-dimensional objects.

   Visual Effects (or VFX) is the process by which imagery is created or manipulated outside the context of a live-action shot in filmmaking. Visual effects involve the integration of live action footage (special effects) and generated imagery (digital effects and/or optical effects) to create environments, inanimate objects, animals, and/or creatures that look realistic, but would be dangerous, expensive, impractical, time- consuming or impossible to capture on film. Visual effects using CGI (Computer Generated Images) have recently become accessible to independent filmmakers with the introduction of affordable and easy-to-use animation and compositing software.

2. Cinematography

   Cinematography, which etymology means “movement”, or “to write”, is the science or art of motion-picture photography and filming, either electronically by means of an image sensor or chemically, by means of a light-sensitive material such as film stock. The style, artistic choices, camera work, cinematic techniques, shot composition, lighting, focus, and framing produce an image result that brings the viewers to reality.

3. Photography

   Photography is the art, application, and practice of creating durable IMAGES by recording light or other electronic radiation, either electronically by means of a light-sensitive material such as photographic film. The effective use of the principles of photography, merged with the composition of images and the juxtaposition of elements, colors, or other elements or items put together as composites, or even the use of personalities as models, or application of special effects --- these capture or portray the composition, entire image and desired message of the photograph, either in black or white, or in color. Hence, “a good photograph can say a thousand words”.

4. Production Design

   Production Design is the overall look and feel of the advertising or promotional material, effectively executing its setting and style. It creates and organizes the physicality of the material in whatever medium the material is channeled through. Production Design is responsible for the visual characteristics of the material or set-up, making the physical components comply with the concept or theme. It heavily contributes to creating the world within which the message is presented. It is achieved through the excellent design of sets, stage, location choices, costumes, use of colors and lighting, and the identification and use of appropriate tools and props, giving the material a distinct aesthetic overall look.

5. Editing

   Editing involves correction, condensation, organization, introduction of some revisions or changes such as cropping or taking away some undesired portions such as in a photograph/picture, organization, and many other modifications performed or undertaken to produce a correct, consistent, accurate, and complete work.

   Editing includes reviewing the text, graphic, or video component(s) of the materials to safeguard the ad material from usage or execution errors that divert from the agreed concept or theme or strategy, and thus, ensure adherence to the selected and/or agreed style guide.

6. Audio Production

   The above involves the skillful assembly of audio elements such as dialogue, live sound, foley, music atmosphere, and sound effects into a cohesive auditory experience. Audio Production includes the technical mastery in the editing and mixing of said elements --- determining which element(s) to emphasize or de-emphasize, and blend, in conjunction with the mood, tone, and message of the material. The mastered audio may stand alone, as in a radio ad or plug; or synced to a video material (as in TV commercials or TVC’s, or audio-visual presentations or AVP’s, or short documentary films).

7. Emerging Technology

   Emerging Technology consists of technologies that are generally new but also include older technologies finding new applications. This includes but not limited to robotics, robotization, Artificial Intelligence, Virtual Reality, Augmented Reality, 5G, and 3D Printing. For this award, the term shall refer to technologies that are currently existing and developing and are creating, or expected to create significant social or economic effects.

8. AVP Production

   Audio Visual Presentation (AVP) production refers to a multimedia communication tool that combines audio, visual, and sometimes interactive elements to convey information, deliver a message, or engage an audience. AVPs leverage dynamic media elements to enhance comprehension, retention, and engagement.

9. Visual and Audio Restoration (Audio, Video, Film)

   Restoration is a generalized term for the process of removing video and audio imperfections from sound and video recordings. Audio imperfections include hiss, impulse noise, crackle, wow, flutter, and background noise. Video imperfections include color inconsistencies, glare, choppy or blurry and/or jerky shots, scratches, distortion, quality loss, pixelization, and out-of-synch videos.

   Restoration work, sometimes referred to as media restoration, is also called digital remastering, depending on the major work to be undertaken. Through restoration technical knowledge and expertise, melded with state-of-the-art technology, damaged and aged source materials either audio or video tape, or film are returned to a “good as new” condition, transforming these material(s) for enhanced images or audio quality, and/or both, to achieve modern viewing platforms.

D. ENTRIES

Branded and Advocacy entries for the ARAW Values Technical Awards may be submitted in the following forms/format or media:

SINGLE ENTRY

• TV/Cinema (.mp4 format 50mb max)

• Radio (.mp4 format 50mb max)

• Print (.pdf format 20mb max)

• Out-of-Home (OOH)

  • Static (screenshots in .pdf format 20mb max)

  • Video (.mp4 format 50mb max)

• Direct Communications/Activation (.pdf format 20mb max)

• Digital /Mobile/Interactive Static

  • Static (screenshots in .pdf format 20mb max)

  • Video (.mp4 format 50mb max)

E. ELIGIBILITY AND SCREENING

1. An entry should reflect a specific ARAW Cornerstone Value and be entered in the right category.

2. An entry must specify a Technical Field of Expertise or Technical Category and be entered in the right technical field of expertise or discipline.

3. Competition is open to any company or individual professional belonging to an Ad Foundation-represented organization, Ad Standards Council-represented organization, other members of Ad Foundation, and legitimate members of other technical guilds or other industries, to further include renowned individual and independent, but professional freelancers.

4. Materials entered by industry members and independent professionals/ freelancers (those with renowned expertise and sub-contracted by service entities, but are not employed by any production services company and/or are not members of an organized trade association or guild), must have been aired/published/exhibited/implemented on legitimate media* within the period November 16, 2019 to July 30, 2024.

   *Legitimate Media is defined as:

   TV/Cinema - Free-to-air or Cable TV. Qualified cinema entries are those shown in theaters before a paying audience.

   Print - Regularly published and distributed, national or regional print materials. Not included are one-off publications like souvenir programs and playbills.

   Radio - National, Regional or Local Radio, including TeleRadio, Online Radio

   Digital Media - Any communication medium that operates in conjunction with various encoded machine-readable data formats.

   Out-of-Home - Advertising experienced outside of the home. This includes billboards (static and electronic), wallscapes, posters and other materials “seen on the go".

   Special Media - Any other medium not included or identified in the above. These include activations, events, sponsorships, direct mail and other types of direct marketing.

All entries, including Advocacy Communications entries, must also submit these supporting documents and brief synopsis, together with the entry materials:

• For TV and Radio - at least with 30GRP’s, as shown in the CP’s

• For Print(single entry)- publication tear sheets, minimum 3x Freq.

• Direct, POS/Collaterals, and OOH entries must have been publicly displayed, distributed, or delivered to the target audience within the same period.

• Digital entries, when appropriate, must provide a live and accessible web address unless the site has been discontinued, in which case, the entry must include a file of the site when it was active.

• Activation, events, and sponsorships must be accomplished by photos/video of the event.

  *(For Technical Requirements: Please refer to Annex A.)

• Adaptations of foreign concepts are acceptable; however, the entrant must show original material for judges to fairly appreciate local input/interpretation.

• All ads with Ad Standards Council (ASC) Cease and Desist Orders meted out at any point of time are not eligible.

• The Ad Foundation is inhibited from entering the competition on its own initiated campaigns; however, these may be entered by foundation members or cooperators who were involved in said campaign.

G. CRITERIA FOR JUDGING

2. Fees for non-member industry associations such as business entities and professionals, independent/individual freelancers or members of technical guilds or other industries that are not affiliated at all to the advertising and marketing industries BUT render technical expertise and services to industry members, from time to time, are covered by the same fees and above-mentioned incentives.

3. Remittance of payments, in cash or in cheque via online banking or over-the-counter bank transaction, must be in favor of:

Advertising Foundation of the Philippines
Bank Account:
BPI Current Account No.: 3211-0590-78
Proof of Payment should be sent to: adfoundationph.org@gmail.com

4. Payments in cash or in cheque may also be made directly to the Ad Foundation’s Secretariat:

Liezl Rebullida (liezl.adfoundph@gmail.com; 0921-6741524)
Jo Alvero (jo.adfoundph@gmail.com; 0921-4428422)
Huberto Corpes (hjcorpes@gmail.com; 0927-8971103)
c/o KBP Office 6th Floor, LTA Bldg., 118 Perea St., Legaspi Village, Makati City

5. Any of the above-mentioned staff shall issue the Foundation’s Invoice corresponding to the amount of the competition entry fees paid.

6. All unpaid competition entries on or before November 8, 2024 shall automatically be disqualified.

7. Deadline for submission of entries: November 8, 2024. Extended Deadline is November 15, 2024.

8. Enter your entries through: https://arawvaluesawards.com.ph

9. An Invoice will be issued by the Advertising Foundation of the Philippines.

• VALUES MESSAGE = 40%

  • Does the material reflect the specific ARAW Cornerstone Value it has been entered in? Does it have a strong and positive message to its target audience?

• TECHNICAL AND SPECIAL EFFECTS = 30%

• Does the integration of visual and technical effects enhance the aesthetics and impact of the material for a more positive, much clearer, and emotion-provoking delivery of the value message to the target audience? Are the special and technical effects compatible with the thematic concept and the desired mood being portrayed in the material, for the attainment and effectiveness of the values message? Do the use of the visual and/or audio, technical and/or special effects, and other technical processes contribute to the overall quality and effectiveness of the material to succinctly and clearly present the message of the value?

• CREATIVITY = 20%

• Does the execution present the message of the value in a fresh, insightful, and compelling manner? Does it have the appropriate craftsmanship and production values?

• IMPLEMENTATION AND EXECUTION = 10%

  • Is the exposure and choice of media vehicle appropriate and sufficient in conveying the message of the value to the intended target audience?

H. COMPOSITION OF JUDGES  

The ARAW Values Awards Competition Management Committee, in consultation with the 11th ARAW Values Overall Organizing Committee, shall select knowledgeable, credible, respected and relevant persons from various appropriate industries and disciplines to constitute the screening panel and the Board of Judges.

I. JUDGING PANELS

The Board of Judges, of at least 5 to 7 members, is composed of a 'mix' of renowned experts in the technical field of production-execution and implementation, such as multi-awarded cinematographers, or directors (art, creative, technical, etc.), photographers, and acclaimed and highly respected artists (graphic, staging, production designers, etc.). There will be two sets of panels: 

A. Preliminary Boards to determine the category winners, and

B. Special Jury to determine the recipient(s) of the ARAW Values Technical Award of Excellence, if any. No judge may sit in both panels.

Preliminary Boards
The online panels of judges to be formed may run from three (3) to seven (7) panels depending on the number of entries in the respective categories and per value according to the ARAW 7 Cornerstone Values. Each Panel shall consist of odd-number members such as 9 10  5 or 7 persons per panel. These panels shall be assigned respective cornerstone value(s) and they will judge all entries under those assigned values and technical fields of expertise.

Special Jury
There will be a Special Jury of at least 5 persons for the selection of the “ARAW Values Technical Award for Excellence” among those entries that emerged as ‘Most Outstanding Technical Awards’ for a specific technical field/expertise category. The Special Jury will be composed of the Ad Foundation Chairman of the Board, two respected and prominent persons from aligned industries and disciplines, an industry leader who is an esteemed industry pioneer, and a Chairman/Chairperson who is a respected and renowned technical expert from the industry, or from the aligned industries or disciplines. 

J. JUDGING PROCESS Preliminary - Finalists Round

1. The Online Panels of Judges shall determine the entries that qualify for the competition per specific Technical Field/Expertise Category and vie for:

o   Meritorious (Bronze),

o   Outstanding (Silver), and Most Outstanding (Gold)

ARAW Technical Awards under each specific category and value.

2. Each jury member scores the entry using a score ranging from 1 to 10 for each line item in  the ARAW Technical Awards Criteria.

3. The accomplished judging sheet of a jury member, duly signed by said jury member, will be turned over to the independent auditor who, in turn, will compute the scores, applying the respective weight based on the ARAW Technical Awards Criteria breakdown.

4.  Individual judges cannot see the scores of other judges.

5. All entries with a Weighted Score of at least 8.00 qualify as finalists for a specific technical field of expertise. A finalist means that the entry is in consideration for an ARAW Technical Award in a specific technical field, but is not a guarantee that it will get one.

6. A finalist may get either a Finalist Certificate or an ARAW Technical Award (Meritorious, Outstanding, Most Outstanding) for a specific technical category if the entry reaches the qualifying score for such.

7. It is possible that there is NO winner in a category.

ARAW Values Technical Award of Excellence

• All Most Outstanding ARAW Values Technical Award recipients, Branded or Advocacy, are in consideration for the ARAW Values Technical Award of Excellence (the equivalent of Platinum in the main competition).

• Judging for the ARAW Values Technical Award of Excellence (Platinum) will require the physical presence and deliberation of the Special Jury.

• All judges must unanimously agree on the entry to win the ARAW Values Technical Award of Excellence.

• There will only be one winner of the ARAW Values Technical Award of Excellence unless the Special Jury unanimously decides to award more than one deserving winner.

K. JUROR’S LIST

• From the ASC and Ad Foundation association – members

• From well-known and respected organizations, foundations, and non-profit organizations, e.g., Metrobank Foundation, Ayala Foundation, SM Foundation, Gawad Kalinga, Haribon Society, Coca-Cola Foundation, Jollibee Foundation, Hands-on Manila, etc.

• From allied and other industries such as technical guilds, federation of photography associations, public relations, marketing associations, etc., to include independent freelance professionals, particularly those who are recipients of technical recognition awards and honors

• From the academe – undergraduate or graduate study programs

• From socio-civic organizations ex.: Red Cross, Rotary, BSP, GSP, Soroptimist International, etc.

• From select government and international organizations and institutions.

L. ABSTENTION

Should a conflict of interest arise, the concerned member of the panel should inhibit himself/herself in judging the particular ad/material. The member shall be required to inform the ARAW Values Awards Competition Management Committee or the ARAW Special Concerns Committee on the said conflict and shall indicate in the lower left portion of the score sheet his/her abstention.

M. INDEPENDENT AUDITOR

The assistance of an independent and respectable auditing firm shall be secured to take charge of the judging results from the Preliminary-Finalists judging to ARAW Values Technical Award of Excellence winner(s).

N.PROTEST RECONSIDERATIONS

Any protest on the eligibility of an entry must be formally filed (in writing) by a participating organization after the announcement of the finalists, one week before the final judging. No protests shall be entertained outside of this period. The decision of the ARAW Values Awards Organizing Committee shall be final and non-appealable.

O. DISPUTES, CONTROVERSIES, APPEALS AND OTHER ISSUES

Any and all possible disputes, controversies, appeals, or other issues relating to the submitted entries shall be discussed and resolved by the ARAW Values Awards Executive Committee.