As you say, there is a lot ink mattes to reveal the images, a lot of them looks like have been placed in a 3D environment to create those parallax effect moving the 3D Camera. Not easy but you can do it with AE.
Stock footage or heavily processed footage of ink spots and spatters + Track Mattes + blend modes + Rotoscope and/or Greenscreen + 3D layers and camera moves. If that whole spot was my comp it would probably be about 10 comps, one for the individual shots of players and graphics, four or five comps for the ink splatter transitions, then everything would be rendered and layered in Premiere Pro. I only see about 2 transitions that may need to be done entirely in After Effects. I would want a very easy way to time and adjust each part of the video. I tried counting the number of elements I saw in the shot and quit around 15 seconds in when I got to 100 layers. It would be impossible to work efficiently entirely in one comp in AE. Comp for each greenscreen shot, a comp for each comp that needs hand roto, comps for ink splatters that can be layered, and a bunch of testing and fiddling around.
Let us know how much experience you have with AE using track mattes, keying, animating cameras, blend modes and tracking and we can probably point you to some decent tutorials that can get you started.