I dealt with that same static on a G85 shoot last year and it was a nightmare... Lumix pre-amps are notoriously sensitive and kinda noisy. I would suggest looking at the Comica CVM-VM20 Super Cardioid Shotgun Microphone. Its analog gain dial lets you keep camera levels low so you dont get that floor hiss.

• Set camera gain to -12dB
• Adjust the mic dial instead
• Watch the OLED display Make sure to check the mount tension before running around.

Honestly, I had such a frustrating time with the audio on my Lumix gear for the longest time. I tried the Rode VideoMic Pro Rycote Shotgun Microphone thinking it would be the silver bullet for my G9, but it was honestly pretty disappointing. The hiss was just unbearable because those Panasonic pre-amps are super sensitive. If you leave the camera gain at 0 or anywhere near it, you just get this constant white noise in the background that ruins everything. It was a nightmare to fix in post and I basically lost the audio for a whole project because of it. Then I tried the <a href=" https://www.bhphotovideo.com/c/search?Ntt= Sennheiser+MKE+400+Directional+On-camera+Microphone&BI=8941&KBID=10361&SID=12345&DFF=d50" target="_blank" rel="nofollow sponsored">Sennheiser MKE 400 Directional On-camera Microphone and while the sound quality was definitely crispier, I actually broke the shock mount within three months just by stuffing it into a side pocket of my bag. Not exactly professional durability if you're gonna be running around a wedding venue like a madman. It felt kinda cheap for the price tbh. If you want my honest advice based on a lot of wasted money, look at the Deity V-Mic D3 Pro Supercardioid Shotgun Microphone. It is usually around 199 and the gain knob on the back is a total lifesaver. You can crank the mic gain way up and drop your G95 internal levels to the absolute minimum (-12dB usually). That is the only way I ever got clean audio without buying that bulky XLR adapter you mentioned. It feels way more solid than the Sennheiser too. Just make sure you practice setting those levels a few days before the wedding because wedding audio is one shot only... ngl I learned that the hard way.

Popping in a day late but I totally agree with the others about those noisy pre-amps. I have been using a G95 for about two years now and had the exact same stress before a big family event last summer. I finally settled on the <a href=" https://www.bhphotovideo.com/c/search?Ntt= Sennheiser+MKE+400+Compact+Shotgun+Microphone&BI=8941&KBID=10361&SID=12345&DFF=d50" target="_blank" rel="nofollow sponsored">Sennheiser MKE 400 Compact Shotgun Microphone (the newer 2nd gen model) and honestly I couldnt be happier with how it performed. Here is why it works so well for weddings specifically:

• The shock mount is actually built into the internal housing now, so that fragile issue people mentioned with the old version is basically gone. I have bumped mine plenty of times and its fine.
• It has an auto-power feature that turns the mic on when you turn the camera on. This saved my life because in the middle of a wedding ceremony you are gonna forget to flip a switch eventually.
• To get clean sound, set your G95 mic level to the lowest possible setting then use the +20dB boost on the <a href=" https://www.bhphotovideo.com/c/search?Ntt= Sennheiser&BI=8941&KBID=10361&SID=12345&DFF=d50" target="_blank" rel="nofollow sponsored">Sennheiser. It makes the audio super crisp without that background hiss.

Adding my two cents here because Ive shot a ton of weddings with Lumix bodies over the years. Honestly, the biggest mistake I made starting out wasnt actually the mic choice, it was forgetting that a shotgun mic is only as good as how close you are to the person talking. If youre standing twenty feet back at the altar, even a fancy mic is gonna sound like garbage because of the room echo and wind noise. I have had shoots basically ruined because a cable jiggled loose during the ceremony and I didnt catch it until I got home to edit... that is a nightmare you dont want. Before I give you a solid recommendation though, are you planning on being right up in the action for the vows, or are you gonna be stuck at the back of the aisle? That makes a massive difference for what kind of setup you actually need to pull this off without it sounding like it was recorded in a tin can.

Jumping in here... regarding what #1 said about Honestly, I had such a frustrating time with the audio, I really must agree. I experienced a similar level of disappointment when I transitioned to my current setup from a different manufacturer. Unfortunately, the internal preamps werent as good as expected, leading to significant noise floor issues that ruined several of my early projects. I specifically recall a ceremony I filmed last year where the background hiss was just unbearable during the quiet moments. This experience taught me a lot about the technical discrepancies between brands. My previous gear handled gain staging much more gracefully, whereas the current system requires an extremely methodical configuration to achieve acceptable results. Its unfortunate that such capable cameras are held back by these internal limitations, forcing a much steeper learning curve than I anticipated... kinda a headache, tbh.