Viguié filmed his first documentary "Escenas de Ponce" (Scenes of Ponce) which consisted of various scenes of Ponce. He also included a scene of a hurricane and exhibited his work at Teatro Habana. The public became interested in his work and soon the Teatro Habana and his movie house in Adjuntas became popular public reunion centers. The hurricane scene in his documentary was shown in the United States by the American (U.S.) news media. In 1916, Colorado and Antonio Capella Martínez created the Film Industrial Society of Puerto Rico, producing their first silent film titled "Por la Hembra y el Gallo" (For the Girl and the Rooster). That same year Viguié traveled to New York City, where he took a course at the New York Institute of Photography at Columbia University. During his stay there, he joined the United States Army and served in World War I. After his discharge, he went to work for Universal and later for Paramount. He made many connections in the film industry in the years that he worked for the movie studios in the United States. He also invested most of his earnings in filming equipment. In 1919, Viguié returned to Puerto Rico, and in his native Ponce began work on a film based on the life of Puerto Rican pirate Roberto Cofresi. The film was to be titled "El Tesoro de Roberto Cofresi" (Roberto Cofresi's Treasure), however the project did not proceed because of the lack of funds. Viguié then went to work as a cameraman for "Porto Rico Photoplays," a film company established in Hato Rey. Even though the company was financed by local Puerto Rican businessmen, none of its members, with the exception of Viguié, was Puerto Rican or Hispanic. Amongst the main staff of the company were Reginald Denny, Ralph Ince and Ruth Clifford, who were involved in constant quarrels. In 1921, the company produced a film for Paramount titled "Tropical Love." The movie was filmed in Loiza and San Juan, but without any participation from, or outreach to, any of the local residents. The film was conceived and executed exclusively by, and for, the U.S. Anglo population. This myopic production philosophy, and the chronic bickering amongst the directors, led to the company's closure. Viguié made use of the situation and purchased the company's film equipment.