A Regional Movement Created by a Broadcaster

TV Yamanashi's new VI production. It aims to enhance internal potential and further engage the prefecture's residents.

 

Excerpt from the "Challenge to THE NEW VALUE OF TV/RADIO" feature published in the September issue of Synapse (released September 25).

The "CP6 Department," established within Dentsu Inc.'s Media Services / Radio,TV Division last July, partners with broadcasters. It drives transformation in employee mindset and actions, enhances the value of the broadcasting station itself, and even creates regional movements. At TV Yamanashi, the division was responsible for creating the Visual Identity (VI), slogan, and statement. How did this change the station's potential, and how did it engage the prefecture's residents? Ryuichi Aoyama from the editorial department of the magazine 'Synapse' interviews Kazuhito Mizuseki of TV Yamanashi and Nobuaki Hattori of Dentsu Inc.

 

Re-examining our own value. That's where the new VI project began.

 

Aoyama: "First off, how did TV Yamanashi (UTV) and Dentsu Inc. CP6 Department originally come together?"

Mizuseki: "Last January, we conducted a station image survey in the Yamanashi region, and the results weren't favorable for our company. That sparked a sense of crisis, leading to the idea of 'creating a section dedicated to branding.' This resulted in the establishment of the current Cross-Media PR Strategy Office, with me appointed as its head. However, even after creating the department, we were completely clueless about branding. So, we consulted with the Tokyo branch office and decided we needed to hear from experts first, which is how we ended up consulting with Dentsu Inc. Dentsu Inc. shared two crucial insights with us. First, 'Branding isn't just about creating catchphrases, logos, or TV commercials.' Second, 'Even if one section loudly proclaims branding, it will fail unless the entire company is aligned.' These were extremely valid points. We took them back and immediately decided to formulate a basic branding plan. At that point, we decided not to have just the Cross-Media PR Strategy Office handle it, but to involve employees. First, we defined our core target as women in their 30s to 50s. We gathered female employees matching that age group and started by listening to their opinions."

Aoyama: "The most immediate core target, indeed."

Mizuseki: "That's right. We started with questions about their lifestyles and current desires, researching what they wanted from a TV. Initially, we only surveyed employees, but they themselves expanded the survey to friends and relatives who matched the target demographic, allowing us to grasp potential needs quite concretely. After that, we gradually refined the basic branding direction by conducting consumer group interviews and other methods to pinpoint the image of UTY we wanted them to embrace."

Aoyama: "Could you share an outline of the basic direction?"

Mizuseki: "In a nutshell, it's 'Seeing UTY opens up possibilities.' We aimed to drive branding activities with the goal of 'creating expansiveness' across our company's various initiatives. However, while we could see the goal at this point, we didn't know how to get started."

Since we're both in the business of creating content, if we collaborate, it will definitely be interesting.

 

Aoyama: "So that's when you began discussions with CP6. When UTY approached you about branding, what were your initial thoughts, Hattori-san?"

Hattori: "First, as CP6, one of our missions was the broad theme of 'contributing to enhancing the value of the broadcasting station.' So, when UTY approached us right away, we were fired up. VI production and branding are, in a way, our specialty. However, as Mr. Mizuseki mentioned earlier, the essence of branding isn't something done by just one section; it's something every single employee does. In reality, branding can't be changed significantly just through outputs like VI or advertising. That's why, when creating this VI, we constantly kept in mind how it could become an engine for each UTY employee and how it would enhance UTY's value."

Aoyama: "While this is your area of expertise, Hattori-san, were there any particular challenges with this project?"

Hattori: "We were very aware of the extremely high standards for the output. After all, both the copy and visuals are something broadcasters create daily, which made us incredibly nervous. We wanted to challenge ourselves to exceed the expected bar and thought about it desperately. At the same time, we were confident that if the broadcasters, who create content together with us, and our team shared the same vision and worked collaboratively toward the same goal, it would have explosive power and would definitely be interesting."

Aoyama: "Could you share your thought process and workflow leading up to your proposals?"

Hattori: "UTY's request was for us to create their VI, slogan, and statement. Naturally, we would create those, but I believed the true essence of the work was to chart a course for 'what exactly will change for UTY going forward' as these elements evolve. In other words, once these were launched into the world, how would program production change? How would the awareness and actions of the staff change? Or, how would UTY's image within Yamanashi Prefecture change? And beyond that, how UTY's value would increase. We decided to propose not just a logo, but a vision extending that far. From the dozens of proposals we submitted based on this thinking, the ones that survived were those possessing both strength and charm – the kind that, upon seeing or hearing the VI or slogan, made you think, "Ah, starting tomorrow, I'll try doing things a little differently."

Another strength of CP6 is its ability to assemble the optimal internal staffing team for each project.

 

Aoyama: "Could you tell us why you ultimately decided on the copy 'U Wak♡UTY'?"

Mizuseki: "Dentsu Inc. presented three proposals, and all were excellent. So, we decided to choose the one that represented something our company didn't currently have – the one furthest from our existing image."

Aoyama: "What exactly is UTY's current image?"

Mizuseki: "It's more serious, reserved, and quiet. Also, we don't often step on the accelerator—we tend to hit the brakes more often. So, naturally, we've become quite skilled at applying the brakes (laughs)."

Aoyama: "How did the graphic of someone peering through this wall come about?"

Hattori: "The copy 'U-Waku♡UTY' was approved, so we had the art director proceed with the graphics in that vein. A crucial factor in this project was assigning an art director from Yamanashi Prefecture. Having grown up with UTY, they intuitively understand UTY's presence and the character of Yamanashi residents. Honestly, I think the person who truly understands that gut feeling is the one who knows best. I believe this successful assignment might have been the biggest factor in everything going smoothly. One of our strengths in CP6 is being able to assemble the optimal in-house team for each project, so getting that person was really great. Don't you think this peeking image conveys a sense of temptation really well? (laughs) It also carries the message that the whole family, across generations, can enjoy it."

Aoyama: "With everything in place—the VI, slogan, and so on—did you notice any changes in the employees' attitudes?"

Mizuseki: "The external release was on March 28th, but we announced it to employees on February 8th, our company's founding anniversary. As I mentioned earlier, we deliberately chose something far removed from our company's existing image, so I think they felt a sense of anticipation that something might change from now on. We also discussed returning to the statement whenever facing work uncertainties. We created promotional items to coincide with the release, and employees took the initiative to distribute them—they ran out quickly. I believe this immediately sparked a desire to promote our company and increase its visibility."

Aoyama: "Beyond the promotional items, where else are you utilizing the VI?"

Mizuseki: "We unified our website with the VI's pink color. We also used the 'U-Waku♡UTY' text on pitch signage for our local J-League team, Ventforet Kofu. Furthermore, on the back (the side facing the participants) of the paper used for fan formations at their home stadium, we printed a graphic of a family peering through a wall hole. We also installed peephole panels at the local AEON Mall."

Hattori: "This kind of expansion is something only a local station deeply rooted in the community can achieve, right?"

Mizuseki: "This fall, we're holding a free lecture and market for women. We named them 'U-Waku♡ Lecture' and 'U-Waku♡ Market'. This idea also came from many female employees speaking up. Seeing these kinds of activities emerge makes me feel we're gradually seeing change."

Hattori: "For the next phase, we're also considering a feature called 'U-Waku♡Tube' where viewers can upload their own U-Waku videos."

Mizuseki: "If we can get residents involved in this too, I think it would be really interesting."

Hattori: "We believe we can broaden the scope of our activities in various ways. The strength of the broadcasting station is, above all, its ability to create content itself. When we propose ideas, they can quickly bring them to life themselves, allowing us to develop things progressively. It's incredibly rewarding. As I mentioned at the beginning, CP6 Division's key mission is to enhance the value of the broadcasting station. If the station's value increases, it can lead to the development of new business opportunities, and ultimately, I believe this will also increase the value of our company."

We'll lure them back to television with even more tempting content.

Aoyama: "Mr. Suishaku, who has also been involved with think tanks, how do you analyze the current state of television?"

Mizuseki: "I feel a sense of dread as we approach a society where, with the spread of online media, many people only access information that interests them or only share information that suits their own convenience. While it may seem like diversity is increasing at first glance, since individuals are only consuming information they like, perhaps they aren't actually diversifying as individuals. History proves that when people become steeped in one way of thinking, they gradually start excluding or attacking those with differing views. To prevent such a society, television must hold its ground and create mechanisms to introduce minority opinions. For that, we first need television to look back. That's precisely why we want to 'tempt' more people with 'U Wak♡UTV'."

Aoyama: "Mr. Hattori, what did you gain from this project?"

Hattori: "This time, I designed the broadcaster's initiative itself, and its dynamism sparked another thought. If we place the broadcaster as the engine at the center, could we create a major movement and offer it as a solution, thereby creating new business? If we can create that movement, we can approach various clients and say, 'Would you like to join us?' To do that, we need more than just programs; we need real-world contact points. In this case, that meant places like J.League home stadiums and AEON Malls. Normally, rolling out solutions in these locations would be incredibly labor-intensive. But for a local station deeply rooted in the community, it's achievable in one go. This is a method only possible because we're local, and it's also easier to disseminate information because the mindset of the local residents is already aligned in a certain direction. And to cover such key contact points and execute expansive initiatives, having a single concept or rallying cry makes it much easier. Creating that is the role of the creative team. This reaffirmed that our job is to discover these new rules and new ways of selling. It was a truly valuable opportunity."

【What is Synapse?】

■Concept
A magazine supporting television and media
■Publisher
Video Research Ltd.
■Publication Cycle
Quarterly publication. Issued four times a year in March, June, September, and December
■Price
¥980 (tax included)