One evening this month, Faraday Okoro was sitting in a sound studio in Chelsea, putting the final touches on his first feature film. Onscreen, one of the main characters had just picked up a beaded necklace, and Mr. Okoro, leaning back into his chair with a can of seltzer in his hand, was questioning whether the rattle of the beads could be heard clearly enough. In front of him, a sound engineer pressed pause, punched a series of commands into a keyboard, and played the scene again. The beads were louder.