So we'll switch over to a scene and lets just take a look at it. Now we can look at a practical example of this as well. If I was encountering lots of grain in the rendered output I'd consider switching to the physical, too, because the level of grain comes down to the samples and as we've said, it's far easier to change the samples in the physical renderer because it all happens in the render settings as opposed to jumping over to each material, and each light, all the other bits and bobs that you can change. So I would use the physical renderer when I wanted to render realistic camera effects, such as Depth Of Field or Motion Blur, or when I have ares of great detail in my scene. And keeping track of all of this would be quite difficult in a complex scene, and this is where the physical renderer is very, very useful because it's all controlled here it's just simplified. We could then come over and have a look at those. Then all the materials we'd get were very grainy. So we've seen the lights we can then control the accuracy and the samples on those. So we can come back to this in a minute I just want to switch over to the standard renderer again and just see if I were to have this set on Best and had a really complex scene and I was increasing the Anti-Aliasing minimum and maximum levels, or even controlling them on a per object basis, there's so many areas that I would need to go back and check on. So you should increase this in increments of 1 or even like. Anything underneath this is going to get sort of multiplied by whatever value is in here. And that's because the physical renderer just uses, this is like the main control, the Sampling Subdivisions. So if we come over to Anti-Aliasing as well we can see that all these options are grayed out as well. There's certain effects as well such as Ambient Occlusion that have this accuracy minimum and maximum samples.
So, there's other areas like Transparency or the Min and Max samples in the accuracy, and it's all a very familiar interface. Now if we create a material, and we go into the Reflectance channel and now I just want to come down to the bottom, we need to actually have a mode that supports this so I'll remove the Default Specular and add a Beckmann, and then if I come down to the Layer Sampling, you can see that these have been grayed out as well. If we had an area light with area shadows and we come over to our Shadow tab you can see, if I just bring this up, that these are the things that control how grainy the shadow would be and they're all grayed out. And conversely, when you enable the physical renderer settings that were available previously will be grayed out. And if you're familiar with photography then a lot of this will make a lot of sense. So as we can see, because we've got the physical renderer turned on, the settings are all available to us. But I just wanted to illustrate that point. Now, we're not going to be getting into cameras just yet. So with the physical renderer enabled you can now render 3D, Depth of Field, and Motion Blur. If I just come over and switch back to standard you can see that those options are grayed out. So, when you enable they physical renderer, in the render settings as I've done so here, and if you have a camera in your scene, let's just create one, the physical tab becomes available. It's the core foundation to achieving realistic renders. What drives the physical renderer is the physical camera. And if you in the Broadcast, Visualize, or Studio version of C 4D, you'll have the physical renderer available to you. The physical renderer has been part of CINEMA 4D since release 13.
Generally, I would start off using the standard renderer and see if I'm getting the output that I desired. It's the normal render engine that is both fast and stable, and suitable for pretty much any occasion.
So what are the differences between the standard and physical renderers? Well first, let's open up the render settings and we'll consider the standard renderer.