If the room is a recording room (i.e. well treated acoustically), then you can usually push the actor back from the microphone enough without getting too much room echo. Increasing the distance between the actor and the microphone leaves more air between, which compresses the voice before it hits the microphone capsule.

You can also have the actor shout slightly off (e.g. on top of or over) the microphone capsule (so that you also avoid making it too off-axis), rather than directly towards it.

Picking another mic for the shouting may be problematic, because then you'll get different frequency response, so the voice may sound considerably different than with the other mic used for normal dialogue.

I'd try to get as much natural compression using the microphone and the distance between the actor, because otherwise the dynamics may prove problematic (you can't necessary compress/limit much or you will mess up the natural gain envelopes).

If the room is a recording room (i.e. well treated acoustically), then you can usually push the actor back from the microphone enough without getting too much room echo. Increasing the distance between the actor and the microphone leaves more air between, which compresses the voice before it hits the microphone capsule.

You can also have the actor shout slightly off (e.g. on top of or over) the microphone capsule (so that you also avoid making it too off-axis), rather than directly towards it.

Picking another mic for the shouting may be problematic, because then you'll get different frequency response, so the voice may sound considerably different than with the other mic used for normal dialogue.

I'd try to get enough natural compression using the microphone and the distance between the actor, because otherwise the dynamics may prove problematic (you can't necessary compress/limit much or you will mess up the natural gain envelopes).