Any issues with this post production setup?

Hello, I've been reading and searching endlessly for information on achieving accurate and reliable colour as it's always been the achilles heel of my work (for obvious reasons now!). I have decided to pick up either a Benq SW320 or PV3200PT monitor, an Xrite i1 Display Pro and a BMD Decklink Mini Monitor 4k. I would just like to know if anyone can suggest anything better in a similar price range or if someone more knowledgeable would have any thoughts or other recommendations?
I have debated using a separate GUI and reference monitor but came to the conclusion it would be better for me to edit/reference from the same large calibrated monitor via the mini monitor 4k, unless I am missing something?
I also do occasionally work with 4k60p footage out of a C200, will the limit of 4k30p on the mini monitor 4k greatly affect my workflow?

Thank you in advance for your time!
Cheers,
John

I have debated using a separate GUI and reference monitor but came to the conclusion it would be better for me to edit/reference from the same large calibrated monitor via the mini monitor 4k, unless I am missing something?

Read page 1885 of the Resolve 15 manual: "Limitations When Grading With the Viewer on a Computer Display." This goes into some detail why you cannot accurately monitor directly from the computer and operating system. You have to have a color-managed output, like one from a Blackmagic display card, preferably on a calibrated external Rec709 display.

If you're just editing, it's not as important, but it is handy to have a big hero display that permanently shows the edited timeline output without any switching or button-pushing involved. There are some pros to having two GUI displays and the "Dual Layout" workspace mode for editing, plus the third display just for the timeline reference monitor.

Thank you for your reply Marc.

I was under the false impression (or just wrongfully assumed) that I could view my color managed output on the gui itself if I just ran my gui monitor input via a decklink card. After more research and a re reading the Resolve manual I have a much better understanding of whats needed and why at this point.

I couldn't help but notice during my research that you have been happy to share your knowledge with many others posting similar questions on multiple forums and I have to applaud you for that. It can be quite daunting to try and understand the proper setup and workflow involved with Resolve when you have no prior knowledge of it and it seems as though there are few experienced users out there that are so willing to help out the beginners.

Cheers,
John

I couldn't help but notice during my research that you have been happy to share your knowledge with many others posting similar questions on multiple forums and I have to applaud you for that. It can be quite daunting to try and understand the proper setup and workflow involved with Resolve when you have no prior knowledge of it and it seems as though there are few experienced users out there that are so willing to help out the beginners.

We try! I get that Resolve can be an overwhelming program. The joke some colorists and I have is, when we jumped on the color-correction train in the 1980s, it was going about 5 miles an hour, so it wasn't that hard to get into. By the end of the decade it was up to 20MPH, and then it really started speeding up in the 1990s. Now, I think it's moving at about 150 miles an hour, so jumping on that train is harder than ever when you're starting from zero.

I get that some people are used to the idea of just being able to drag the viewer over permanently to a 2nd or 3rd display, but it really is better (for a lot of reasons) to use a dedicated display card for the hero output. At least it's cheap: I think my first Mini Display from years ago was one I found for less than $100 used.