And conversely, when you enable the physical renderer settings that were available previously will be grayed out. 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. 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. So, there's other areas like Transparency or the Min and Max samples in the accuracy, and it's all a very familiar interface. There's certain effects as well such as Ambient Occlusion that have this accuracy minimum and maximum samples. So if we come over to Anti-Aliasing as well we can see that all these options are grayed out as well. And that's because the physical renderer just uses, this is like the main control, the Sampling Subdivisions. Anything underneath this is going to get sort of multiplied by whatever value is in here. So you should increase this in increments of 1 or even like. 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 we've seen the lights we can then control the accuracy and the samples on those. Then all the materials we'd get were very grainy. We could then come over and have a look at those. 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. 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. 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. Now we can look at a practical example of this as well. So we'll switch over to a scene and lets just take a look at it.
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