Good Morning, and Happy Sunday, Capprim,
This seems like a simple question, but it is typically the content of a ten-part series. I try to keep it short... 
I might share more than you need, as I'm not familiar with your background or that of anyone reading along.
Please keep in mind that the iPhone has a lot of things going on between lens and file. It is not always a "simple" case with iPhones.
Not always the best idea. Besides, that tiny lens might have more "options" to have an axial shift than a full frame lens, a logical thing based on the size.
Camera tracking runs along a lens distortion workflow. Here, the trouble begins when trying to do it completely in Cinema 4D. Tracking works with the original footage while using a lens distortion file. Which needs to be from the iPhone you have used, with the lens that you had set up. Any external data is useless.
The footage for the background needs to be rendered with that distortion first.
Why is that? Because background footage is done in post, not in the rendering, for various reasons, light-wrap, for example, keeping the original footage untouched. Consider that a lens distortion "fix" is applied to the footage; each pixel is moved, most likely in a nonpixel distance, meaning it gets mixed with the neighbors. Which results in you degrading a 4K pristine footage to a simple SD footage. Hence, the renderings, which are typically available in any resolution, will be adapted to match the original footage, not the other way around.
To see the result of the background, the footage needs to be undistorted, like the tracker used with the lens distortion grid, but already back in for the background. Again, this destroys the quality. I mention that even many photographers I'm aware of apply lens distortion fixes as if that were without penalty. Therefore, the suggestion to use undistorted footage for the background is for testing purposes only, and any other use is highly questionable.
The footage for the RS-Camera needs to be an image sequence, not a QuickTime file (such as an MP4 or other container format).
In the Render Settings, you will find Redshift. In Advanced mode, the AOV (Arbitrary Output Variables) section contains an AOV named Shadow. This gives you the option to define the Shadow in a composition. There are numerous questionable ideas about this on the web, such as inverting and applying it via multiplication. This is not the best way to do it. The idea to have back for no shadows means zero for that area, and anything in the Shadow is above zero to one. This can be applied to a process, even to simple tasks like a Level or Curve adjustment. Here, you can match them comfortably in terms of the density and color of a shadow. Typically, a shadow is not black, except the blacks are crunched. We are in the era of HDR video, which means a huge number of values defining the blacks to achieve a larger dynamic range, not only with extremely bright content. For me, the real quality in HDR lies in the darker areas, specifically in color fidelity. Black shadows are super rare.
If the tracking was done in Standard render, the camera might not match the needs of Redshift. Place an RS camera below the Standard camera and zero out pos and rot while the Scale is 1. Check the focal length and the Sensor size.
All steps are done, as usual, with the current version (2025.2), as I do not answer from memory; things change, and outdated information from the past can cost you time, if not longer.
In any case, for comfortable compositing of all elements, explore the Red Giant Super Comp.
Enjoy