TBH, I think this is probably well into the realm of diminishing returns.
The way I see it is that there's stuff that happens before you colour grade and stuff that happens afterwards. 10-bit (or more) matters when you're capturing footage that you need to significantly alter in the colour grade (log, linear) but after it's in a 709 space I think it becomes far less important, unless you're capturing in a 709 profile and plan to heavily grade it after that.
I've found that there's essentially three groups when it comes to colour accuracy:
The general public, where there is zero guarantee of quality, adherence to standards, or consistency in what they're looking at. They also (mostly) don't care, and most probably can't tell the difference between the colour of a Sony A72 and an Alexa.
Professional colourists, where there is almost no limits to the degree of accuracy and the investment in minutia around this, and is often accompanied by a failure to understand the practicalities and compromises of the world. Their clients are occasionally directors or producers who have some of the most refined taste and colour perception imaginable, so they are aspiring to be good enough for the worlds best. They will argue to the death about things you've never heard of.
Us practical folks in the middle trying to do what we can but without it being the entire universe that we live in. We care so much more than the general public that they can't understand a word we say, and we care so little in comparison to the pros out there that we can't understand almost anything they say.
If you've got a vaguely colour accurate monitor setup in a vaguely controlled environment then I think you're going above and beyond for what most of the audience really cares about. For this, 8-bit monitoring is totally fine.