Creation Bear - Absolutely not! 4x5 film always holds more detail if one knows what they doing. For thing, 6x7 is only about a third the film area as 4x5 (though apples to apples, a 450 Fuji C would be the correct comparison in 4x5 format; I only shoot the 600C with 8x10 film). Second, a view camera allows plane of focus control, which the 6x7 does not, and 300 teles have very shallow depth of field. But in distant shots, the atmosphere itself is often the limiting factor either way (haze, heat waves etc.). With b&w film, a red filter can cut through haze with the 300EDIF, but not quite as successfully with the older P67 300 teles which are not as well red corrected (a deep 22 orange works better with them). All my view camera lenses are superbly corrected. But windy conditions tend to favor the P67 tele, provided it's on a very substantial tripod. I actually use the same larger Ries wooden tripod for the 300EDIF as for 8x10, and bolt the camera directly to the platform top - no tripod head at all. It makes a big difference in sharpness. But the 300EDIF also focuses relatively close, so is useful for a lot more things than infinity scenes. As far as 360's, my favorite is the Fujinon A, which is wonderful on 8x10, 4x5, and even 6x9 roll film. What you need to appreciate in terms of wt and portability is that all the extension in a view camera is done with a lighwt bellows. You don't need a big metal cannon barrel like MF telephoto. You can carry at least four compact LF lenses for less wt than a 300 EDIF, and with a Sinar 4x5 field monorail, support the system free of vibration for about a third the tripod weight. But I'm a format schizophrenic, and sometimes that 300EDIF is soooo much fun, and optically superb too.
Glenn Evans forward mounted my 800mm F9 (on a custom milled Norma board and tube) to work with my Norma shutters a few years ago. It's also a beast of a lens, beautiful to use.