Take a look at using noise turbulence to displace the image. You can do this in after effects. There are lots of good tutorials on it. I recommend this one:
Maybe add some images so we can see what you have and what you’re going for.
You can make an image move like water by using a displacement map. This will warp the image as if the folds in the surface of the water are refracting the light as it passes through. For better results, you'd also want a separate map for reflection and/or specularity on top of the water surface. Here's an example in Blackmagic Fusion. If you copy the code ...
You could try to create an expression that sets the opacity of your layer to 0 once you've hit a certain time in your timeline. You should be able to code this properly in Java or the basic expression-language. A syntax should look somewhat like this:
Make a key frame (or more than one at different points) on the Opacity control. You can get to it by selecting the layer and pressing T. Or open up all the triangles to find it. Set the opacity to zero to make the layer invisible.
The text labels are all controlled by a simple expression that takes the value of a slider, converts it to an integer and adds the letter "K" at the end. Even without programming skills you can see where the "k" part happens (but I put in some magic sparkles to give you a hint). Simply replace the letter "K" with "%" ...
You can do this quite easily without content-aware fill or anything like it. I'd tackle this by doing the following:
create a rough shape for each tracking-point (the color doesn't matter)
track each point using the native after-effects tracker and apply the track to the corresponding shape.
All the shapes should now stick to their tracked point. Precompose ...
If you have all your timelines closed, pressing this button will open up the composition that is visible on screen and go into the timeline of said comp.
This could be useful if you're working with dozens of precomps, lock the master-comp and go diving in the precomps. Then, when you want to return to your master-comp, simply press that button.
If I understand this correctly, your goal is to be able to adjust the stroke effect in one shape and have it applied to every other shape, right?
If so, here's how I'd approach this:
create your shape layer and add the stroke effect to reveal the image
Pre-compose the shape layer
Duplicate the precomp three two times and scale them, so you have three ...
I would look at Templater Rig to see whether this does a fair amount of what you need.
You can also import JSON files directly into AE without conversion to CSV first:
I think you might be better off building the mesh for your sword using a 3D package, like Blender, Cinema 4D or Element 3D from Video CoPilot. Building hundreds of Beams can be very time consuming, and a true 3D renderer might be easier to achieve the look you're going for.
I'm not sure how far you will get with it, and it might be tedious when dealing with many vertices, but here's one method only using shapes and solids (no plugins needed):
Create a round shape (this will be your dot)
Create a second shape. We will now try to connect Dot1 and Dot2
Create a solid
Apply the "Beam" effect on the solid
Set the ...
Replicating an accurate VHS-look is a complicated profession, but if you are not worried about the technical accuracy you could emulate it like this:
Create a solid called "Displace-Map"
Apply turbulent noise to it
set the scaling to something huge in the x-axis and something reasonable (100%) on the y-axis.
alt-click the stopwatch on "...
Try using the analog lines, but turn up the number of frequency bands, a LOT. Like to a thousand or so. To get single lines use side a or side b in the side options. You can also change the upper and lower frequencies to focus more on parts of the audio that are interesting. Then repeat with different settings to achieve multiple lines.