Rec709 and DCI-P3

Hi

I'd recommend an Eizo Coloredge display because its hardware calibration will allow simulation of Rec 709 properly.

Personally, I've found that the best way to do this with an Eizo Coloredge display is to use the basICColor display software to calibrate, it does use the inbuilt Eizo calibration device and the Hardware LUT also. 

https://www.colourmanagement.net/products/basiccolor/basiccolor-display-software/

the basICColor display pro version even allows visual whitepoint tuning to better match broadcast monitors like the Flanders.

This conversation gives a bit of insight into the maze of dsiplay accuracy in broadcast situations. 

https://community.adobe.com/t5/premiere-pro/premier-2020-changes-the-color-of-my-video-when-i-import-it/td-p/11867798

BTW, looking at sRGB gamut volume plotted within the DCI-P3 colourspace it seems that DCI-P3 easlily exceeds sRGB,

It's not possible to upload a movie here but if you send me a direct message, I can send you a link to a 3D grapher movie from Colorthink PRO showing the gamuts 

I hope this helps
neil barstow, colourmanagement net :: adobe forum volunteer
google me "neil barstow colourmanagement" for lots of free articles on colour management
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That's right, in movie/video production the standard is to adjust the monitor to the target color space as closely as practically possible, but not use any color management to ensure universal accuracy.

So what you need is a monitor that matches Rec.709/sRGB (same primaries) as closely as possible. Any standard gamut monitor should qualify in that regard.

A wide gamut/DCI-P3 monitor is at best wasted, at worst a problem. You will need to set it to emulate Rec.709, and all that extra gamut coverage, which you pay for, is wasted.

It's true that the really good wide gamut monitors, like e.g. Eizos, have emulations that are very accurate, more accurate than what you get with a standard gamut model. But for your purpose, you need to decide whether it's worth the considerably higher price.

Don't pay too much attention to those percentages. They just refer to total gamut volume, but the actual shape of it, determined by the three primaries, is more important. The reason they specify less than 100% sRGB coverage is just that the primaries are slightly shifted relative to the ideal position, so a tiny slice of the sRGB gamut is outside the monitor gamut. That in itself is totally insignificant; it matters a bit more that the shifted primaries slightly affects the reproduction of individual colors. A sky blue, for instance, might be a tad more cyanish or magentaish than what is absolutely correct.

The above is based on your stated purpose. If you're doing photography and/or print design as well, my advice would be to get something much better than the two monitors you propose, something that could take full advantage of a completely color managed process.

Bear in mind colour management will only match screen colours for colour managed apps. My understanding is that most video production tools, and most movie viewers are not colour managed at all, so you see the raw RGB. You need to avoid wide gamut monitors (run far, run fast) but otherwise matching the broadcast standard, or typical customer equipment seems a fair choice. The customer will of course turn saturation way up, because that looks better to them! I do suggest posting in forums dedicated to your specific work though.