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    Home » The Best Work You May Never See: House 337, Director Martin Stirling Create “The Ripple Effect” To Show The Impact Of Probation Officers

    The Best Work You May Never See: House 337, Director Martin Stirling Create “The Ripple Effect” To Show The Impact Of Probation Officers

    By SHOOTMonday, January 26, 2026Updated:Friday, January 30, 2026No Comments256 Views
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    Ministry of Justice's "The Ripple Effect"

    London-based creative agency House 337 has put the profound impact of probation officers at the heart of HM Prison and Probation Service’s (HMPPS) “Ripples of Change” campaign which sits under the platform of ‘“An extraordinary job. Done by someone like you.” HMPPS is part of the U.K. government’s Ministry of Justice.

    The main focal point of the campaign is this :30, “The Ripple Effect” directed by Partizan’s Martin Stirling, which follows a probation officer through his/her/their daily tasks; revealing how this important role can help transform lives, protect communities, and give people a second chance. Moving beyond traditional recruitment messaging, the campaign showcases the reality and the reward of working in probation–a role that requires emotional intelligence, resilience, and a genuine desire to make a difference.

    “Probation officers do extraordinary work every single day, work that genuinely changes lives and protects our communities. But too many people don’t realize this role exists, or that they could do it themselves.” said Josh Green, chief creative officer, House 337. “Our film shows the reality of the job: the challenges, the small wins, and the profound sense of purpose that comes from helping someone turn their life around. We wanted to create something that would make career changers stop and think ‘I could do that. I want to do that.’”

    Targeting career changers with life experience, the campaign specifically speaks to people aged 30-55 from sectors including health and social care, administration, education, customer service, and hospitality who are looking to change their careers, and who can bring valuable life experience and transferable skills to the role.

     

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    Credits

    Client Ministry of Justice Agency House 337 Josh Green, chief creative officer; Steve Hawthorne, creative director; Gabriella Kohli, art director; Nick Coates, copywriter; Emily Tredinnick, producer; Tash Dean, executive producer; Imogen Ryan, assistant producer; Marina Suprunova, design director; Sam Adefe, sr. designer; Rhys Clarke, motion designer; Hayden Bannochie, motion designer (freelance); Joe Chakravorty, design director (motion). Production Partizan Martin Stirling, director; Jenny Beckett, managing director; Ella More O’Ferrall, head of production; Danny Herman, exec producer; Charlie Scannell, producer; Will Cousins, production manager; Peter Camilleri, location manager; Olan Collardy, DP; Sarah Asmail, production designer; Rebecca Rich, costume stylist; Eliana Diaz, make-up artist. Editorial Trim Editing Josh Mannox, editor; Tatyana Alexandra, edit producer. Post House No8 Glen Percival, head of production; Robson Yeo, producer; Leanne Pletersky, Flame artist/head of Nuke; Matt Turner, colorist; Sam Robson, creative director of audio. Casting Kharmel Cochrane, casting director.

    Media Type:Commercial: PSA
    ScreenWork Categories:Commercial
    Screenwork Type:Best Work
    Video Tags:House 337Martin StirlingPartizan



    Top Spot of the Week: Sam Gainsborough Directs An Inflated Spectacle For Clash Royale

    Thursday, April 16, 2026

    Directed by Sam Gainsborough via Blinkink, this film from agency Uncommon Creative Studio transforms video game Clash Royale’s beloved characters into an extraordinary balloon-built world, where more than 10,000 real twisted balloons were used to forge every aspect of what you see on-screen. In this surreal universe, the balloon nature of the characters is never questioned--it simply is. The Goblin trembles in genuine fear. The Barbarian rages with helpless fury. The King, confronted with an impending explosion, quietly accepts his fate.

    To bring this ambitious vision to life, Gainsborough involved Airigami, a team of expert artists who create large-scale installations, illustrations, and experiences entirely out of balloons. Each character was meticulously handcrafted to ensure immediate recognizability while embracing the uncanny qualities of their inflated counterpart. Through extensive pre-production, the team refined not only the likeness of each figure, but also the physical behavior of the balloons, carefully designing how they expand, where pressure builds, and how their forms distort under strain.

    Working across multiple scales, the artists achieved remarkable levels of detail, allowing for both intimate character moments and large-scale visual impact. The cinematography also draws heavily from the horror genre, using extreme close-ups, dramatic angles, and dolly zooms to build tension and amplify the expression of each puppet.

    As the pressure mounts, the characters swell beyond their limits; their balloon forms pushing against the letterbox frame itself, visually reinforcing the escalating tension while also nodding to the film’s underlying absurdity. The climactic moment delivers a visceral payoff: balloon explosions captured at... Read More

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