Actually, I rarely use controllers with traditional samples - and even less so after I started playing real and modeled instruments. In this case, I literally drew all dynamics automation using Bezier curves in the sequencer, because that’s smooth and fast in Cubase, especially when one starts to develop an intuitive feel for what the basic curves should look like.
The problem with sampled/scripted instruments is that they are pretty blunt tools, compared to real or modeled instruments. They only roughly approximate what you’re playing, and typically with substantial latency at that. To make matters worse, there are usually non-linearities and inconsistencies in the response. That makes playing these instruments “live” a bit like trying to play a violin that constantly creeps out of tune - difficult, annoying, and extremely unhelpful when trying to learn.
So, while you can certainly record, draw or copy around some basic curves to get in the ballpark, the key to actually getting what you want is to “edit by ear,” tweaking the curves until you get the desired result, without paying too much attention to what the curves look like.
If you’re really picky (or run into problematic instruments), you may even have to use the “wrong” articulations, play extra notes that aren’t actually heard, or resort to printing and editing the audio. Anything goes. We’re already in the “wrong” here by not playing real instruments in the first place, so what we’re doing here is really just trying to correct the issues to get more realistic end results.