Couple that with:
https://www.largeformatphotography.info/fstop.html and you're good to go.
A few observations:
The "1/3-in" rule doesn't really work. The amount of depth of field in front of and behind the plane of sharp focus varies with the distance being focused on. There are better ways to work with a view camera.
The "focus near - focus far and split the distance method" works well only if you use it intelligently. You have to get the proper f-stop to provide you with the desired depth of field and you need to consider where the plane of sharp focus will end up and adjust if needed. For example, you might want to cheat toward better focus for a distant horizon line at infinity and stop down more with many scenes, etc.
And, the "near" and the "far" can end up being above and below the plane of sharp focus if you use tilts; you really need to be able to visualize where that plane of sharp focus is in order to effectively choose your near and far focus points.
Mastering movements is an essential part of working with the view camera if you want to optimize sharpness and depth of field. You really need to be able to assess a situation, decide where you want the plane of sharp focus to lie in the scene so you can use the optimum f-stop, and then know how to best achieve that with movements. Choosing focus points for your plane of sharp focus and applying movements is equally, if not more, important that "focusing" your camera.
Knowing how to deal with out-of-focus areas is important too. Sometimes, they are unavoidable; sometimes desirable (although I don't really like glaring out-of-focus areas in my work). Knowing how to tweak movements and focus so an unavoidable soft area is placed unobtrusively in the scene is important too.
Best,
Doremus
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