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.
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