SKU: 82080335442
peg perego viaggo

peg perego viaggo Peg Perego Primo Viaggio Convertible Kinetic Car Seat

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Description

peg perego viaggo Peg Perego Primo Viaggio Convertible Kinetic Car SeatSafety and versatility that fit your growing little one. A new level of protection in our Primo Viaggio Convertible car seat. Featuring Kinetic Pods, Adjustable Side Impact Protection (SIP), Expanded Polystyrene (EPS), Expanded Polypropylene (EPP) energy absorbing foam, and an anti rebound bar. The Kinetic Pods offer additional side impact protection and help to move forces away from your baby in case of a side collision. Recommended for children:

Safety and versatility that fit your growing little one.

A new level of protection in our Primo Viaggio Convertible car seat. Featuring Kinetic Pods, Adjustable Side Impact Protection (SIP), Expanded Polystyrene (EPS), Expanded Polypropylene (EPP) energy-absorbing foam, and an anti-rebound bar.

  • The Kinetic Pods offer additional side impact protection and help to move forces away from your baby in case of a side collision.
  • Recommended for children: rear facing - 5 to 45 lbs., forward-facing - 26.5 to 65 lbs.
  • Rear-facing recline provides a relaxing angle for the child. 
  • The top tether hook increases stability in forward-facing mode and limits forward movement.
  • Full coverage protection with EPS & EPP foam. To provide increased protection and comfort throughout the shell and headrest.
  • Adjustable Side impact protection that easily adjusts to 10 different positions with no re-threading of the harness required.
  • Energy management system through a contoured steel back plate minimizes flexing and reduces forward movement upon impact reducing stress on the child.
  • Extended rear-facing capabilities for children up to 45lbs. (child's head must be at least 1 inch below the edge of the head rest)
  • Easy-tight LATCH system offers ease of use and installation.
  • Tri-stage cushion system for comfort and support of a newborn’s neck and bottom.
  • Harness retainer to stabilize harness clips, making them easier to locate when securing the baby in the seat.
  • The Anti-rebound bar protects the baby by minimizing forces and reducing rotation in case of front or rear collision. The ARB is integrated and stowable.
  • Superior quality Fresco Jersey fabric found in the head panel and removable cushion is easy to clean, breathable, and absorbs moisture, keeping the child cool and comfortable.
  • Cup holder included

MADE IN ITALY

Our team of Peg Perego experts in Italy performs every step in the process from concept to creation. 

KINETIC PODS

offer additional side impact protection and help to move forces away from your baby in case of a side collision. The pods are adjustable to ensure the perfect fit no matter where in the car the seat is installed.

100% FIRE-RETARDANT FREE

100%  Free of harmful chemicals

EASY TIGHT LATCH SYSTEM

Easy tight latch system offers ease of use and installation.

TRI-STAGE CUSHION

Cushion system is included for comfort and support of a newborn’s neck and bottom.

CUP HOLDER

Removable cup holder included

REAR-FACING RECLINE

The Primo Viaggio Convertible reclines in rear facing mode to provide a relaxing angle for child.

REAR-FACING LONGER

The Convertible allows a child to sit rear facing up to 45 pounds, as long as the child’s head is at least 1-inch below the headrest edge.

TOP TETHER HOOK

Increases stability in forward-facing mode and limits forward movement.

FULL COVERAGE PROTECTION

EPS & EPP foams provide increased protection and comfort throughout the shell and headrest.

ADJUSTABLE SIDE IMPACT PROTECTION

SIP protects child’s head, neck and spine. Easily adjusts to 10 different positions, even with child in the seat, ensuring the best and safest fit.

ENERGY MANAGEMENT SYSTEM

A contoured steel back plate minimizes flexing and reduces forward movement upon impact. Steel pins collect energy and dig into base of the seat to reduce the stress felt on child.

WIDE PADDED SEAT

Includes a specially shaped, removable cushion for newborns to be used until the baby reaches 22 lbs.

CONTOURED BASE

The contoured base provides extra stability in any seating position.

ANTI REBOUND BAR

The integrated anti-rebound bar enhances protection in case of a rear collision.

Shipping Notes
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Exchange/Return Notes
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  • Final sale items are not eligible for returns or exchanges.
  • To process your return/exchange, please contact us at [email protected]
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SKU: 82080335442

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4.4 ★★★★★
Based on 13 reviews
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Product Reviews
J
Verified Purchase
jk Smiles
Lexington, US
★★★★★ 5
A book on dialogue should be experienced first as a book on tape
Format: Audio CD
I think of this more as a great master class lecture. Dialogue should be seemingly simple (we all talk), but McKee defines its essence and differences for prose, stage and cinema. The bulk is narrated by McKee, but the scene examples are read by voice actors and they do quite well. Even the roots of the English language are examined in order to make better decisions on your character's particular use of words. After listening the 10 hours twice while commuting, I finally picked up the book and read it. The book on tape is a better way to initially absorb the material, while the actual book helps to clarify the info. A must for all writers, especially screenwriters.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on August 30, 2018
L
Verified Purchase
Lori T. Sly
Massapequa, US
★★★★★ 4
Helpful, but not as good as "Story" by same author, and it disses certain genres
Format: Hardcover
This book contains a lot of helpful information on how to write dialogue. It's dense with dialogue analysis and insights, tough to take in by just reading it through once. But it is helpful. McKee covers the three dialogue tiers (said, unsaid, unsayable) as well as how dialogue ties into story turning points and scene conflict type. I still have lots of practice ahead of me to figure out how best to do this in my story. I will definitely use his advice as a guide. He understands dialogue at a much deeper level than I do. However, many of McKee's dialogue examples did not speak to me. While I liked reading the dialogue examples for Breaking Bad, 30 Rock, The Sopranos, Frasier, A Raisin in the Sun, and The Great Gatsby, and agreed they were good, I disliked the dialogue from Shakespeare, Elmore Leonard, Sideways, Fraulein Else, and Lost in Translation. McKee says fine dialogue turns the reader/audience into a mind reader; I guess I'm not interested in movies which expect me to be as much of a mind reader as those latter examples did. I totally missed the subtext of the dialogue in those until he explained it to me as an aside. And that's after I already saw most of those movies! If I have to guess what every character means with every line, that's too much work and too little entertainment for me. Maybe mystery lovers liked the dialogue in "Lost in Translation"; I'm not a mystery lover. McKee quoted one novelist as saying that the crux of good writing is to, "Make em laugh, make em cry, make em wait." Lost In Translation and its dialogue did none of that for me. The subtext was so confusing and subtle that I lost interest in the movie. I can't even remember what it was about anymore, only that it won some award and I had no clue why. McKee says that with rare exceptions, a scene should never be outwardly and entirely about what it seems to be about. Dialogue should imply, not explain, its subtext. An ever-present subtext is the guiding principle of realism. Nonrealism, on the other hand, employs on-the-nose dialogue in all its genres and subgenres: myth and fairytale, science fiction and time travel, animation, the musical, the supernatural, Theatre of the Absurd, action/adventure, farce, horror, allegory, magical realism, postmodernism, dieselpunk retrofuturism, and the like. It's a bit unclear how, if at all, anyone writing in any of these "nonreal" genres should take his dialogue advice. It seems to me that even sci fi scenes need some good dialogue with subtext to be engaging. With McKee, all the accolades go to what is implied and unsaid over what is said. I agree that subtext matters, but for me, he's out of proportion with how much it matters to most people and how hard audiences are willing to work to discover the intended subtext. Also, memorable spoken character lines can elevate movie themes and characterization like nothing else. In the end, I think this book is geared more toward writers who want other advanced writers as their audience rather than the average reader or movie watcher. And McKee admits it is definitely not geared toward sci fi, fairytales/myths, action/adventure, horror or allegory. It's almost as if he's saying those genres can't have excellent dialogue. I disagree. But it was still a helpful book to read, and one I will be thinking about and trying to more fully understand for a long time. McKee understands how character's subconscious drives can deepen what they say or avoid saying, and how dialogue interacts with many other aspects of a story to make it all work together.
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Reviewed in the United States on December 12, 2019
R
Verified Purchase
Ray Pryor
West Palm Beach, US
★★★★★ 5
Amazing.
Format: Kindle
Just like a good movie, the first 10 pages = mind blown. Wow, such really, really good material here. If you're new, this will help you a ton. If you're experienced, this book will help you realize WHY great dialogue is so great, enabling you to create the magic again and again. I love how McKee covers several medias ( screen, theater, novel ) but still stays true and clear on the concept. A virtual masterclass on the subject. One of the best screenwriting books out there, and Yes, it's well worth all the hype.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on April 18, 2017
K
Verified Purchase
Kindle Customer
Boise, US
★★★★★ 5
So to speak
Format: Kindle
Previews did not show the Table of Contents, but it is worth searching the web for. The coverage includes practical techniques as well as case studies. Notes cover titles on topics over several decades. This book has four parts about what dialogue is, how it can mended, and how it can be created and designed. Trialogue, the third thing through which a pair of characters channel conflict in conversation, is an interesting concept because it overlaps social networks or media and comms devices; it is also looked at historically. Dialogue is reportedly the quickest way to fix a narrative text since it appeals to intuition. Those levels of depth are what the book is about. They can be found in first person voice. The approach could easily fill a site on the order of tropes for favorite titles, but for deconstruction and revision, which are also relevant to works in progress. It talks about finding characters in the dark, though not necessarily from the milieu, unless it were compressed and made to transfer meaning like in poetry, but reflexive so that it is symmetrical to the characters or human nature. If there is a boundary to be found, then this method is going to hit the lines to find out what happens then. The impact on the rest of the narrative elements is discussed. This extends back through the early philosophers, through tragedy, the merging of European roots into English, and the study of personalities to contemporary customs. Voice is plot.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on June 12, 2017
C
Verified Purchase
cf otto
Natrona Heights, US
★★★★★ 5
ONE OF THE TWO BEST BOOKS ON SCREENWRITING
Format: Hardcover
Probably the best book on screenwriting ever (besides Egri), though there is also much here for the novelist and playwright. I am a professional TV writer, of long-standing (35 years), and I can tell you I used this book to figure out how to fix the problems of a complex pilot I'm writing; the author truly " guided me home." And lest you think I'm a McKee sycophant, I am not. I found little in STORY for me. The only thing I disagree with in DIALOGUE is that the author sells his own work short: it isn't just for those who are "lost" in their writing, like me, and the student, it's for anyone who writes fiction for a living, in any form, no matter how much experience they have. It's that good.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on October 14, 2016

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