Ableton 10.1 automation features

Is there a way in Cubase 10 to have an automation point snap to 50% or it’s default state in the middle of the automation lane? This seems to me like a no-brainer, but it’s still not possible in Cubase 10. In fact, in Cubase 10 it seems even more sensitive than in previous versions - If you move a point it will dance around the 50% mark, sometimes it will land on 50.39 or something stupid, but to get it to exactly 50% is near impossible. So to draw in pitch automation with a synth like Serum, or automating pitch with a plugin like Zplane’s Elastique Pitch, this has become a real pain in the ass. It’s INCREDIBLY TIME CONSUMING and MOST FRUSTRATING doing any kind of automation where you want to go up or down and then back to 50%. You can forget about changing your mind about moving a point later, so much for creativity, because it will be a miracle if that point ever snaps to 50%. So I end up redoing whole sections of automation because I can’t get one point back to 50%.

In my mind this is an easy fix, just hold alt or command or whatever while you place or move a point to have it snap to 50%? Or do what Ableton has done in 10.1 where you can left click a point and type in a specific value. But I mean really, this seems so obvious to me - with any kind of automation, surely you want to come back to the default state quite easily? Do the people that make Cubase work with the software at all? You only have to try and automate pitch once to know that the way it works currently is completely bonkers.

P.S. - It has been requested to death here, but if bezier curves aren’t implemented in midi lanes in the next Cubase update, I seriously have to consider if I can still use this DAW with a straight face. Drawing in pitch automation for a VST instrument is a joke. I mean, are you people at all in touch with what’s important to electronic music producers? Is there any parameter that gets automated more than pitch in today’s electronic music? Tight synchronisation between mid and sub bass? Seriously Steinberg, it’s 2019.